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HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 1

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Alberto Hemsi COPLAS SEFARDIES (Chansons Judéo-espagnoles)

Alberto Hemsi (1898–1975) CD 1 Volume 3, Op. 13 Volume 1, Op. 7 (Spain 1492 – Saloniki 1932) Coplas Sefardies (Chansons Judéo-Espagnoles) (Spain 1492 – Rhodes 1932) © Edition Orientale de Musique, © Edition Orientale de Musique, Alexandria (Egypt) 1934 CD 1 Alexandria (Egypt) 1932 1 - 6 I. Serie (España 1492 – Rodi 1932) 13. XIII. Una hija tiene el rey 5:12 7 - 12 II. Serie (España 1492 – Rodi 1932) 1. I. Yo tomí una muchacha 5:54 14. XIV. Aquel conde y aquel conde 13 - 18 III. Serie (España 1492 – Salónica 1932) 2. II. Durme, (Mexidéra = Canción de cuna / Total time: 68:39 durme hermosa donzella 5:12 Lullaby) 3:30 3. III. No paséch por la mi sala 5:26 15. XV. Ya salió de la mar CD 2 4. IV. Dicho me avían dicho 5:21 la galana 2:33 1 - 6 IV. Serie (España 1492 – Salónica 1932) 5. V. Mi sposica está en el baño 3:27 16. XVI. Aquel rey de Francia 3:38 7 - 12 V. Serie (España 1492 – Esmirna 1937) 6. VI. Ansí dize la nuestra novia 4:26 17. XVII. Yo me alevantí un lunes 2:57 13 - 18 VI. Serie (España 1492 – Esmirna y Anatolia 1920) 18. XVIII. Ya abaxa la novia 19 - 24 VII. Serie (España 1492 – Esmirna y Anatolia 1920) Volume 2, Op. 8 (Boceto de boda / Total time: 70:50 (Spain 1492 – Rhodes 1932) Wedding sketch) 2:41 © Edition Orientale de Musique, Total time: 68:39 CD 3 Alexandria (Egypt) 1933 1 - 6 VIII. Serie (España 1492 – Esmirna y Anatolia 1920) CD 2 7 - 12 IX. Serie (España 1492 – Istanbul 1933) 7. VII. Como la rosa en la güerta 3:34 Volume 4, Op. 18 13 - 18 X. Serie (España 1492 – Medio Oriente 1928) 8. VIII. El rey por muncha madruga 2:39 (Spain 1492 – Saloniki 1932) 19 - 23 Five Hebrew Songs 9. IX. Tres hijas tiene el buen rey 3:08 © Edition Orientale de Musique, 24 Yom gila yavo, yavo! (Esquisse hébraïque) 10. X. ¡Ah, el novio no quere dinero! 1:55 Alexandria (Egypt) 1935 ʼ Total time: 75:36 11. XI. Vengáx en buen hora, Siñora coshuegra 3:23 1. XIX. Triste está la infanta (Canción de 12.XII. Estávase la mora veladas de paridas / Song of nights en su bel estar 3:33 after the childbirth) 3:25 2 3 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 4

Alberto Hemsi COPLAS SEFARDIES

2. XX. Estávase la galana (Cancion de Volume 6, Op. 34 22. XL. Reina de la gracia 3:28 7. XLIX. De enfrente la vide venir 3:08 noches de almusáma / Song of nights (Spain 1492 – 23. XLI. Vamos para la urilla 2:34 8. L. Mi padre era de Francia 3:11 of almusáma) 3:10 Smyrna and Anatolia 1920) 24. XLII. Dia de alhad 2:50 9. LI. ¿Quen es este paxarico? 2:01 3. XXI. Bendicho Su nombre © Alberto Hemsi, Total time: 70:50 10. LII. Torondón 2:07 (Plegaria en „ladino” / Aubervilliers (France) 1969 11. LIII. Mi alma triste 3:10 Prayer in „Ladino“) 5:14 CD 3 12. LIV. Onete Bonete 4. XXII. Quién quiere tomar consejo 3:44 13. XXXI. Malaña tripa de madre 3:01 Volume 8, Op. 44 (Cantiga de pasatiempo / 5. XXIII. Tanto fuites y venites 3:08 14. XXXII. Bueno asi biva la coshuegra (Spain 1492 – Pastime song) 2:40 6. XXIV. Mercar vos quiero, (Canción bailada de boda / Smyrna and Anatolia 1920) la mi mujer (Chanson á boire / Wedding dancing song) 2:02 © Alberto Hemsi, Volume 10, Op. 51 Drinking song) 2:27 15. XXXIII. Tres hermanicas eran 2:31 Aubervilliers (France) 1972 (Spain 1492 – Middle East 1928) 16. XXXIV. La Morenica 2:56 © Alberto Hemsi, Volume 5, Op. 22 17. XXXV. ¡Ay! Mancebo 1:40 1. XLIII. Dolores tiene la reina 3:33 Aubervilliers (France) 1973 (Spain 1492 – Smyrna 1937) 18. XXXVI. El buen viar (Canción 2. XLIV. Durmite mi alma © Edition Orientale de Musique, bailada / Dancing song) 2:04 (Canción de cuna / Lullaby) 3:16 13. LV. De la juma sale el moro 5:03 Alexandria (Egypt) 1938 3. XLV. Sentada en mi ventana 3:13 14. LVI. Arboles lloran por luvia 4:49 Volume 7, Op. 41 4. XLVI. Me parto y me vo‘ 2:15 15. LVII. La cantiga de la Ley 7. XXV. De las altas mares traen (Spain 1492 – 5. XLVII. ¿Hombre, en qué te lo (Canzonetta) 1:56 una cautiva 3:37 Smyrna and Anatolia 1920) contienes? (Endecha / Dirge) 2:46 16. LVIII. Munchos mueren de su muerte 8. XXVI. Una matica de ruda 2:00 © Alberto Hemsi, 6. XLVIII. Un cabretico (Canción de (Endecha / Dirge) 4:06 9. XXVII. ¿De qué llóras, blanca niña? 3:24 Aubervilliers (France) 1970 noche de Pascua / 17. LIX. Esta noche es alavada 10. XXVIII. Avrid, mi galanica (Canción de Passover night song) 2:21 (Canción de cuna / Lullaby) 2:21 noches de ajuar / 19. XXXVII. Alevantéx vos toronja 3:01 18. LX. Quen supiense y entendiense Trousseau nights song) 2:31 20. XXXVIII. Al ruido de una fuente 2:29 Volume 9, Op. 45 (Canción de noche de Pascua / 11. XXIX. Cien donzellas 21. XXXIX. Cuando la comadre (Spain 1492 – Istanbul 1933) Passover night song) 3:38 van a la misa 4:50 (Nacimiento de un niño / © Alberto Hemsi, 12. XXX. Abaxéx abaxo, galanica gentil 1:50 Birth of a child) 2:42 Aubervilliers (France) 1972 4 5 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 6

Alberto Hemsi COPLAS SEFARDIES

Five Hebrew Songs, Op. 25 „A Judaeo-Spanish Romancero”: to arrange them for concert performance. its political role, folklore in music always © Alberto Hemsi, Alberto Hemsi (1898–1975) – The 1920s were the heyday of European had an important aesthetic dimension too: Alexandria (Egypt) 1948 Coplas Sefardies neo-folklorism, a style which produced Folkloristic references went hand in hand

many new works, including those of Leoš with new, original means of expression ENGLISH 19. Vedibbarti al haneviim / „The few documents I had collected gave Janáček, Béla Bartók, Ahmed Adnan Say- and sources of inspiration, a renewal of When I spoke to the prophets 3:42 me the feeling that I was standing on the gun and Manuel de Falla. The eminent the tonal system (often based on modal 20. Yismekhu / They shall rejoice 2:47 threshold of a wonderful cave, like that of Russian-Jewish composer Alexander Veprik forms) and an expansion of harmonic 21. Yonati / O my dove 3:17 Ali Baba, which I had the opportunity to referred to that period back then as the language that was dependent neither on 22. Im en ani li / explore at will. Since that time I must con- „Renaissance of folklore”. The genre was the conventional major-minor harmonic If I am not for myself 3:08 fess that I cannot remember how many the continuation of a stylistic line that system nor on the atonal systems de- 23. Shir hashirim / people I have contacted, nor communities established itself during the nineteenth veloped later on, such as dodecaphony, The song of songs 3:07 and towns visited, nor how often I have century in a number of different musical serialism and other techniques. stayed, for short or longer periods, in five cultures. National movements, each based At that time, traditional Jewish music from 24. Yom gila yavo, yavo! Op. 17 countries of the eastern Mediterranean. on local folklore, were dominating especi- Eastern Europe was an important source (Esquisse hébraïque) / My investigations were in no way limited ally the musical culture of oppressed of inspiration and a generator of renewal A day of rejoicing to poetry and song. Folklore constitutes a peoples who were fighting for their politi- for the musical language of many Jewish will come! 3:49 whole world, and I was anxious in parti- cal independence and cultural autonomy. composers – such as Alexander Veprik, © Edition Orientale de Musique, cular to know that of my people.” Composers who first introduced such tra- Joachim Stutschewsky, Joseph Achron and Alexandria (Egypt) 1934 Alberto Hemsi wrote these words just two ditions to the world of art music were Alexander Krein. Alberto Hemsi on the years before he died, in a retrospective as celebrated as national heroes. Bedřich other hand was the first – and undoubted- Total time: 75:36 a foreword to the last and tenth volume of Smetana and Antonín Dvořák in the ly the most prominent – musician to achieve his opus magnum, the collection of works Czech nation, Jean Sibelius in Finland and a synthesis of the Sephardi-Jewish music for voice and piano known as Coplas Edvard Grieg in Norway all created music tradition with European art music. The Sefardies. More than fifty years earlier, at which would achieve prominence in their Sephardi style of Jewish art music, which the beginning of the 1920s, he had respective countries – even if countries like includes works by the likes of Léon Algazi begun to collect examples of the folklore Czechoslovakia, Finland and Norway (1890-1971) and a number of other com- of the Sephardi Jews – „his people” – and were yet to come into being. In addition to posers, is even far less well known than 6 7 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 8

Alberto Hemsi COPLAS SEFARDIES

the New Jewish School of music of Eastern Europe. Alberto Hemsi was born into a Sephardic Jewish family in the small city of Cassaba (now Turgutlu) near Smyrna (Izmir) in what was then the Ottoman Empire. The family originated from the Italian city of Livorno and therefore had Italian citizenship. Hemsi initially attended a school run by the Jewish organization Alliance Israélite Universelle in his home city before being sent to his uncle in Smyrna at ten years of age. There, he attended a music school run by the Société Musicale Israélite and learnt the flute, clarinet and trombone but

was particularly interested in the piano. Alberto Hemsi with his wife Miryam and his parents, Simhá Chicurel and David Coen Hemsi (c. 1932) In 1913, the Société Musicale Israélite © European Institute of Jewish Music 2020 All rights reserved awarded him a scholarship enabling him to study music abroad. He went to Milan, that year and, as a result, was unable to time Italian, and where there was a signifi- where he studied the piano, composition, pursue the career he had planned as a cant Sephardi-Jewish community. During conducting and music theory at the concert pianist. He returned to Smyrna in his time on Rhodes Hemsi worked as a Giuseppe Verdi Conservatory. He was 1919 and thenceforth, in addition to his translator and piano teacher; his pupils taught by such renowned musicians as work as a teacher, became increasingly included the three daughters of the banker Marco Enrico Bossi and Carlo Perinello. Alberto Hemsi at the age of 10 years, Smyrna 1908 active as an ethnomusicologist and com- Ruben Capelluto. He later married the Being an Italian citizen, Hemsi was © European Institute of Jewish Music 2020 All rights reserved poser. youngest daughter, Miryam Capelluto enlisted into the army in 1917. He suf- From 1924 onwards Hemsi lived on the (1912-2005), and the couple had three fered a severe injury to his arm in May Greek island of Rhodes, which was at that daughters. 8 9 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 10

Alberto Hemsi COPLAS SEFARDIES

A photo of the Jewish quarter of the city of sumably taken by Hemsi himself, can be Rhodes – known by its Spanish name of seen here. It shows the main street of the „La Judería” – featured in the first volume quarter, which also bore a Spanish name, of the Coplas Sefardies. That photo, pre- „Call’ancha” (Wide Street).

Eliyahu Hanavi Synagogue in Alexandria today Today, there is almost nothing left to see of In 1928 Hemsi was appointed Music La Judería, because in early 1945 it was Director and Choral Director of the largest destroyed by aerial bombing. Most of the synagogue in the Middle East – the Eliyahu city’s Jews had already been deported to Hanavi Synagogue in Alexandria, Egypt – and slaughtered in Auschwitz in July where he worked for almost thirty years. 1944, among them almost 70 members of He also taught at the Conservatoire the Capelluto family. de Musique d’Alexandrie. 10 11 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 12

Alberto Hemsi COPLAS SEFARDIES

Hemsi played a prominent role in the musi- In 1941 Alexandria was occupied by „Sepharad” is the Hebrew term for Spain. dings, wars and duels, which go from the cal life of Egypt of that time. In 1929 he German troops and Hemsi’s family fled to Sephardi Jewish communities – descen- most tender madrigal to the most painful founded his own music publishing company, Cairo. His father died on the journey, and dants of the former Spanish and Portu- dirge and which maintain their double Édition orientale de musique, which pub- Hemsi himself was diagnosed at this time guese Jews who were cast out of the vitality with the persuasive strength of the lished not only his own works, but those of with diabetes. Not until 1945 was he able Iberian peninsula at the end of the fifteenth words and the insinuating charm of the other composers living in Egypt. These in- to resume his work in Alexandria. After the century – were still living in many countries music.” cluded the Czech conductor of the Sym- military coup and the takeover by Gamal around the Mediterranean in the 1920s The term Copla actually refers to a certain phony Orchestra of Egyptian Radio, Josef Abdel Nasser in 1954 the political and 1930s. They mainly used the Judaeo- genre of Sephardi folklore: a strophic Hüttel (1893-1951), the Hungarian Jenö situation in Egypt rapidly deteriorated. As Spanish language called Ladino in their song, clearly structured through the lyrics, Takacs (1902-2005), who was professor both a Jew and an Italian subject, Hemsi day-to-day lives, and their folklore was with the verses generally sung to the same of piano at the Conservatoire de Musique was vulnerable on two counts. After the also still strongly characterized by their melody. The texts of the Coplas usually in Cairo, the Belgian composer Gaston Suez crisis he finally had to flee Egypt and Spanish-Portuguese heritage. recount something of Jewish life: Jewish Knosp (1874-1942), and the Egyptian in 1957 he went to France, where he In 1932 the famous Spanish music ethno- festivals, traditions, everyday life or histo- Copt and pioneer of the Egyptian school of arrived penniless and had to build a new logist José Subirá (1882-1980) wrote in ry. The Coplas are usually sung in groups composers Yusef Greiss (1899-1961). The life. Hemsi lived in Aubervilliers, a suburb his foreword to the first volume of Hemsi’s and are often accompanied by hand company’s manifesto, “L’Orient à travers la of Paris. He was appointed a teacher at Coplas Sefardies: „The number of Spanish clapping. This genre enjoyed its heyday in Musique” (The Orient through Music), ex- the Séminaire Israélite de France where he Jews scattered all over the world who, the seventeenth and eighteenth centuries in plains that it published „Oriental works by taught aspiring Jewish cantors. He was thanks to their eminently traditional spirit, places such as Constantinople, Saloniki composers who are familiar with the life, also music director at two Sephardi have resisted the assaults of novelty and and Livorno. All six songs in the first manners, languages, sciences and arts of synagogues. have preserved those spiritual treasures volume of the Coplas Sefardies belong to the Oriental peoples and which bear the Alberto Hemsi was interested in the tradi- after four centuries of exile, refusing to this genre. stamp of unequalled Orientalism, ensuring tional music of various nationalities in the throw off their age-old heritage, has been The subsequent volumes feature both an effect that is both agreeable and eastern Mediterranean, and in his works calculated to be about one million in strophic songs – the real Coplas – as well captivating.” The company also brought he employed elements of Arabic, Turkish, round figures. The great importance of as many examples of other genres of the out Hemsi’s theoretical treatises about „La Greek and Armenian music. His great these songs and ballads as historical docu- Sephardi music tradition: Romance and Musique de la Torah” (1929) and „La achievement however is in his nurturing of ments can thus be explained, those songs Canción. Romances (or Romanzas) are musique orientale en Égypte” (1930). the music of the Sephardi Jews. The word and ballads which speak of loves, wed- the oldest genre of Sephardi music: 12 13 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 14

Alberto Hemsi COPLAS SEFARDIES

While the lyrics to the Coplas Sefardies ornaments. It is possible that these are can usually be traced back unquestionably pointers to a shared medieval Jewish- to very old sources, and in many cases to Arabic culture on the Iberian peninsula the era before the expulsion of the Jews known as „Al-Andalus”. Hemsi considered from Spain in 1492, the provenance of it important to emphasize that in any case, the melodies is a topic that is hotly de- these songs are the expression of the col- bated to this day. The view that these lective memory of the Sephardi Jews and songs are a true reflection – in terms of their longing for their long lost homeland, their textual and musical origins – of and that is why he had printed the annota- Jewish-Spanish folklore of the fifteenth cen- tion „España 1492” on the title page of tury, is now regarded as outdated. Hemsi each volume of his Coplas Sefardies next himself pointed to the clear Ottoman in- to the location and years of his specific fluences in the music of some of the songs, ethnological research, as a reminder of yet he highlighted their „fundamentally the Sephardi expulsion from the Iberian Iberian character”, especially in the case peninsula. Hemsi’s wife Miryam Capelluto Hemsi, his mother Simhá Chicurel Hemsi, and his three daughters (1945) of the songs with a religious content or the Hemsi made it his life’s work to collect and © European Institute of Jewish Music 2020 All rights reserved ballad-like Romances. As with so many disseminate the music of the Sephardi ballad-like songs in free form, with lyrics wedding songs, songs to celebrate the Jewish folk songs in other regions of the Jews. He began his work soon after re- sung by women and usually based on birth of a child or lullabies. world, the melodies of the songs have turning from Italy. This is exemplified sources from the Spanish Middle Ages. In the Sephardi tradition the Canciones (or probably absorbed many different in- among other things by an annotation to They tell of kings, princes, knights and Cantigas) genre is less clearly defined: fluences over the years, including Turkish, the song Durme, durme, hermosa donzella their lovers and wives. Many of the songs it refers to love songs, lullabies, wedding Greek and Arabic input alongside the op. 7/2: „Another version of this song by deal with historical events in medieval songs or popular songs with a predo- original Spanish elements. In particular, the same author was first published in the Spain, handed down in the oral tradition minantly lyrical character. That said, the some of the melodies of the Romances ‘Hamenorà’ magazine, the organ of the of the Sephardi Jews and spread around perimeters between the individual genres suggest a proximity to the Arabic modal B’nai b’rith order in Constantinople in the whole world. The Romances are also are sometimes blurred. Makamat system and display a special 1925.” Initially Hemsi collected traditional sometimes sung as songs of mourning, sense of rhythmic freedom and a wealth of melodies and texts from his family and 14 15 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 16

Alberto Hemsi COPLAS SEFARDIES

friends; he later undertook extensive re- Most of them were women. In one of his Most of the song texts deal with women search trips throughout the entire eastern texts, Hemsi emphasized: „The Sephardic and their worlds. It’s not only love songs, Mediterranean area. The high point of his women – for it is they above all, who have wedding songs, childbirth songs, and lulla- ethnological activities was in the years faithfully preserved and transmitted these bies. Many texts focus on strong and between 1928 and 1935. He met with poems despite their numerous variants and special female characters. Those are un- Turkish, Bulgarian and Palestinian Jews minor defects – have religiously preserved usual women, portrayed from a woman’s and in the summer months travelled these genuine examples of the popular perspective: one is a king’s daughter who frequently to Thessaloniki, Rhodes, Istanbul poetry of the Spanish Golden Age with goes to war disguised as a man (No. and Anatolia. In the foreword to the the same phonetics, the same provincial XXXI), another an enigmatic woman who second volume of his Coplas Sefardies, accent of the epoch, and, even better, the kills one man after another (No. XLIX). published in 1933, Hemsi mentions the same grace and the same light wit of the There’s a beautiful woman who breaks up extensive ethnographical material he stories and ballads of the times gone by.” the church service merely with her pre- collected during his „long sojourn in (cf. also Hemsi’s note on Copla No. VI). sence (No. XXIX), a girl unwilling to give Juderías [Jewish quarters] of Saloniki, The renowned Sephardic scholar Esther up her love (Nos. XXVI or XXXVII), and Constantinople, Smirna, Magnesia and Fintz Menascé, who grew up in Rhodes, there are seductive and adulterous women other places in the Orient”. We know the writes: “Women sang in their homes while (Nos. VIII, XIV, XVII, or XXXVIII). The suf- names of 65 folk singers to whom he doing the housework, cooking, sewing, fering of the unhappily married women is listened on those journeys. rocking a child asleep. Female singers also an important topic (Nos. I, XXII, or performed regularly, often with panderos LVIII). These folk songs, most of which date (tambourines) at weddings, births, cir- from the Middle Ages, contain an asto- cumcisions or on other festive occasions. nishing number of “feminist” themes that One sang on the leave-taking of pilgrims form the leitmotif of the entire collection. going to Jerusalem, or on the leave-taking of emigrants in search of a better life, or Hemsi used about a quarter of a total of simply on moving to a new house.” 230 songs for his most important work,

One of the Sephardic folk singers from Saloniki the Coplas Sefardies collection. This monu- who contributed to Hemsi’s collection mental cycle comprising sixty compositions 16 17 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 18

Alberto Hemsi COPLAS SEFARDIES

for voice and piano based on Sephardi In order to make the folk songs known to a and academic music, between popular folk songs was published by Hemsi in ten wide audience, Hemsi developed the form and art music, between oral and written „cuadernos“ (notebooks) or „series“, as of an art-song that combined authentic music, between eastern and western Hemsi called them. The first five appeared popular elements (vocal melody and lyrics) music.” between 1932 and 1938 in his Édition with an extremely ambitious, sophisticated Alongside the recording of all of the orientale de musique publishing company and colourful piano accompaniment. Coplas Sefardies this present CD edition in Alexandria and the last five were pub- Against the backdrop of this new style, the also includes six songs of a religious na- lished privately during his French exile unostentatious traditional songs show un- ture sung in Hebrew, since there is a sty- from 1969 to 1973. In an advertisement expected artistic potential. This fusion of listic link. This includes the cycle Five He- of 1973 Hemsi referred to the whole work folk song and art music was particularly brew Songs, some of which are based on as „A Judaeo-Spanish Romancero”. The challenging for composers and performers texts from the Hebrew Scriptures (the gap between the publication of the two alike and, at the same time, made the prophets Isaiah, Amos and Hosea and the sets of volumes is easily explained by the Coplas Sefardies all the more intriguing. Song of Solomon). The third song is a tragic historical events of the time: the an- Hemsi himself wrote: „Poetry and music, setting of an excerpt from the Shabbat nihilation of the Sephardi communities in united in the freedom of form and motion, liturgy and the fourth song is based on the the region of the former Ottoman empire are not subject to numerical rules. Just as famous dictum of Rabbi Hillel from the by the Nazis and their collaborators the history of poetry is told in countless Talmudic tractate Pirqe Avot (Chapters of coupled with the destruction of Jewish life verses, the history of music is sung in the Fathers): „If I am not for myself, who and Jewish culture in the Arab nations, sounds without bar-lines. ... It follows that will be for me? And if I am (only) for my- including in his adopted home country of this style of song is characterised by im- self, what am I? And if not now, when?” Egypt. provisation and constant variation. Origi- The song Yom gila, yavo, yavo, which Printed edition of the first volume nally from the East, this style leads back brings this edition to a conclusion, is a there after moving through Sepharad. popular Sephardi song for the Jewish festi- Never written down or notated, it is a na- val of Simchat Torah (Rejoicing with the tural style, conceived on the basis of Torah). Every autumn, this joyous festival sounds, not notes. In my opinion, this is celebrates the conclusion of the liturgical the essential difference between natural annual reading of the Torah. This song 18 19 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 20

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belongs to the Pizmonim genre – traditio- That said, Jewish music in Europe was Out-of-the-box, expressive and warm petition (Innsbrucker Festwochen) and the nal songs in Hebrew combining praise already being neglected in the 1930s, timbered, Tehila Nini Goldstein is a Liederkranz Lieder competition (NY) and of the Almighty with certain didactical especially due to political developments versatile and soulful musician with a wide was a recipient of AICF scholarships. aspects, and sung outside the synagogue. and growing antisemitism. After the war a range including both soprano and mezzo Tehila, a NYC native who grew up in the Hemsi collected this song in 1932 during more markedly cosmopolitan approach soprano repertoire. Her musical interests Judean Mountains near Jerusalem, began his research stay in Saloniki; two years emerged in European music; folkloristic re- and passion begin with early baroque singing at the age of 12 in the “Ankor” later he published his arrangement of it in ferences were now viewed as an ex- and folk music and end with pieces written Girls Choir in Jerusalem with whom Alexandria. According to his foreword, pression of a nationalistic attitude and for her unique abilities. She enjoys gliding she sang under the batons of Claudio the song is „an attempt to map out the were frowned upon. Traditional Jewish between the realms of opera, chamber Abbado, Kurt Masur, Antonio Pappano, emotions inherent in this popular mysticism culture in Europe and the Middle East was and Lieder repertoire. Zubin Mehta, Luciano Berio and many by means of various musical nuances.” all but annihilated by the Holocaust and Some of her musical relationships include more of the world’s most remarkable musi- Hemsi’s ethnological and artistic work was the expulsion of the Jews from Islamic Vienna based Ensemble “Sferraina” (CD cians of our times. At the age of 20, after initially monitored in the world of music countries. Monkeyfish); Prague based orchestra a 2 year military service, she chose music with interest, as witness numerous public Hemsi died in 1975, soon after comple- “Collegium 1704” under Vaclav Luks as her main path. She is currently living in reactions, press discussions and internatio- ting the Coplas Sefardies cycle. After his (L’Olimpiade; Rinaldo; B-minor Mass); Berlin with her husband, Baritone Tomáš nal performances. His Coplas Sefardies death, his oeuvre, which also includes chamber orchestra “I Barocchisti” under Král, and their two sons. were performed in 1935 in London at a many vocal, chamber-music and orchestral Diego Fasolis; Baroque music ensemble concert given by the famous Spanish compositions, not to mention countless “Les Arts Florissants” under William The pianist and musicologist Jascha opera singer Conchita Supervía (1895- works in the field of synagogue music, Christie (Les Jardin des Voix; La Didone); Nemtsov was born in the Siberian town 1936). One critic reported on that event: sank into oblivion. The present recording composer Sarah Nemtsov (L’Absence at of Magadan in 1963 and graduated from „The performance of these songs in traditio- is the first recording ever of the entire Munich Biennale; Sacrifice at Oper Halle; the St Petersburg State Conservatory. He nal style requires without a doubt know- Coplas Sefardies cycle in its original ver- Verflucht at the Salzburg Taschenoper); has lived in Germany since 1992. Since ledge of oriental vocal practice such as glis- sion. Let us hope that other works by Hemsi pianist Hinrich Alpers (CD Rudi Stephan, 2013 he has a tenure full position as sandi, nasal, rough and guttural notes, fre- will now also be rescued from oblivion. prize winner at the 2018 Opus Classic); Professor for History of Jewish Music at the quent falsettos and a facility to perform the Jascha Nemtsov Meitar ensemble; guitarist Nadav Lev (CD University of Music Franz Liszt Weimar. many melismas.” In his view, the performance Translation: New Strings attached) and many more. Additionally he is Academic Director of had been „an exemplary interpretation”. Janet & Michael Berridge, Berlin She won prizes at the Cesti singing com- the Cantorial School of the Abraham 20 21 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 22

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award, the OPUS KLASSIK Award, for his „Ein judäo-spanischer Romanzero“: nen, die Folklore der sephardischen Juden five CDs anthology with piano music by Alberto Hemsi (1898–1975) – „seines Volkes“ – zu sammeln und künst- the Russian composer Vsevolod Zaderats- und seine Coplas Sefardies lerisch zu verarbeiten. Die 1920er Jahre ky who was persecuted during the Stalin waren eine Blütezeit des europäischen © Sarah Nemtsov era (HC17035). „Die wenigen Dokumente, die ich gesam- Neo-Folklorismus, einer Richtung, die unter DEUTSCH Tehila Nini Goldstein and Jascha Nemtsov melt hatte, gaben mir das Gefühl, an der anderem Werke von Janáček, Bartók, have been working together for more than Schwelle einer wundervollen Höhle zu ste- Saygun oder de Falla hervorbrachte. Der ten years. Their first joint project was the hen, wie die von Ali Baba, die ich nach bedeutende russisch-jüdische Komponist rediscovery of the outstanding German- Belieben erkunden konnte. Ich muss geste- Alexander Weprik bezeichnete sie damals Jewish composer Jakob Schönberg with hen, dass ich mich nicht mehr erinnern als „Renaissance der Folklore“. Diese Rich- the double CD Another Schönberg kann, wie viele Menschen ich seit dieser tung setzte eine stilistische Linie fort, die (PH12023). Among other things, the two Zeit kontaktierte, welche Gemeinden und sich bereits im Laufe des 19. Jahrhunderts musicians share a common interest in Städte ich besuchte oder wie oft ich mich in verschiedenen musikalischen Kulturen 20th-century Jewish music. They per- für kurze oder längere Zeit in den fünf etabliert hatte. Nationale, auf jeweilige formed several concert programs with Ländern des östlichen Mittelmeers aufhielt. Folklore basierende Strömungen wurden works by Jewish composers such as Meine Untersuchungen beschränkten sich dominierend insbesondere in der Musik- Geiger College at the Potsdam University. Mieczyslaw Weinberg, Moshe Milner, or keineswegs auf Poesie und Gesang. Folk- kultur von unterdrückten Völkern, die für He gives concerts worldwide as a soloist Joseph Achron. Since 2010, their concerts lore macht eine ganze Welt aus, und ich ihre politische Unabhängigkeit und kultu- and with chamber music partners inclu- have included songs from Alberto Hemsi’s war besonders darauf bedacht, die Welt relle Eigenständigkeit kämpften. Kompo- ding David Geringas, Tabea Zimmer- cycle Coplas Sefardies. meines Volkes zu erkunden.“ nisten, die solche Traditionen erstmals in mann, or Kolja Blacher. Nemtsov has so die Welt der Kunstmusik einführten, wur- far made nearly 40 CDs that include Zwei Jahre vor seinem Tod notierte Alberto den als Nationalhelden gefeiert. Bedřich numerous world premiere recordings of Hemsi diese Worte rückblickend im Vor- Smetana und Antonín Dvořák in Tsche- works by Jewish composers. In 2007 he wort zum letzten, zehnten Band seines chien, Jean Sibelius in Finnland, Edvard received the German Record Critics’ Lebenswerks, der Sammlung Coplas Sefar- Grieg in Norwegen schufen Musik, die Prize. In 2018, he was honoured with the dies. Mehr als fünfzig Jahre zuvor, Anfang eine staatstragende Bedeutung erlangen most prestigious German classical music der 1920er Jahre, hatte er damit begon- sollte – auch wenn es zunächst Staaten 22 23 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 24

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wie Tschechoslowakei, Finnland oder Nor- tung der jüdischen Kunstmusik, zu der wegen noch gar nicht gab. Neben dieser auch Werke von Léon Algazi (1890- politischen Rolle hatte der Folklorismus in 1971) und einigen anderen Komponisten der Musik aber auch eine wichtige ästhe- gehören, ist noch viel weniger bekannt, tische Dimension: Die folkloristischen Bezü- als die in Osteuropa begründete Neue ge bedeuteten zugleich neue, originelle Jüdische Schule in der Musik. Ausdrucksmittel und Inspirationsquellen, Erneuerung des tonalen Systems (oft auf Alberto Hemsi wurde in einer jüdisch- modaler Grundlage) und Erweiterung der sephardischen Familie in der Kleinstadt harmonischen Sprache, die weder von der Cassaba (heute: Turgutlu) in der Nähe von konventionellen Dur-Moll-Harmonik noch Smyrna (Izmir) im damaligen Osma- von den späteren atonalen Systemen wie nischen Reich geboren. Die Familie stamm- Dodekaphonie, Serialismus und anderen te ursprünglich aus dem italienischen Techniken abhängig war. Livorno und besaß daher die italienische Staatsangehörigkeit. Hemsi ging zunächst Auch jüdische traditionelle Musik aus Ost- auf eine Schule der französischen Alliance europa wurde damals für viele jüdische Israélite Universelle in seiner Heimatstadt, Orchester der Jüdischen Musikgesellschaft in Smyrna, 1910 Der junge Alberto Hemsi steht mit Euphonium in Händen in der vorletzten Reihe in der Mitte (vor dem Plakat rechts) Komponisten – wie Alexander Weprik, im Alter von 10 Jahren wurde er dann zu Joachim Stutschewsky, Joseph Achron seinem Onkel nach Smyrna geschickt. An 1913 bekam er von der Société Musicale in die Armee eingezogen und bereits im oder Alexander Krein – eine wichtige der Musikschule der dortigen Israelitischen Israélite ein Stipendium für ein Musikstu- Mai schwer am Arm verwundet, wodurch Inspiration und Quelle der Erneuerung Musikgesellschaft (Société Musicale Israélite) dium im Ausland und ging nach Mailand, die geplante Laufbahn als Konzertpianist ihrer Musiksprache. Alberto Hemsi war lernte er u.a. Flöten-, Klarinetten- und wo er am Giuseppe-Verdi-Konservatorium unmöglich wurde. 1919 kam er nach dagegen der erste – und wohl der bedeu- Posaunenspiel, am meisten interessierte er Klavier, Komposition, Dirigieren und Mu- Smyrna zurück und betätigte sich fortan – tendste – Musiker, der in seinen Werken sich jedoch für das Klavier. siktheorie studierte. Zu seinen Lehrern neben seiner musikpädagogischen Arbeit eine Synthese der sephardisch-jüdischen gehörten renommierte Musiker wie Marco – umso intensiver als Musikethnologe und Musiktradition mit der europäischen Kunst- Enrico Bossi oder Carlo Perinello. 1917 Komponist. musik erreichte. Diese sephardische Rich- wurde Hemsi als italienischer Staatsbürger 24 25 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 26

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Seit 1924 lebte Hemsi auf der griech- und Chorleiter der größten Synagoge des ischen Insel Rhodos, die damals zu Italien Mittleren Ostens – der Eliyahu-Hanavi-Syn- gehörte und wo eine bedeutende jüdisch- agoge im ägyptischen Alexandria – sephardische Gemeinschaft existierte. berufen, er arbeitete in dieser Position Ein Foto des jüdischen Viertels der Stadt dann fast dreißig Jahre lang. Außerdem Rhodos – das unter dem spanischen lehrte er am Conservatoire de Musique Namen „La Judería“ berühmt war – wurde d‘Alexandrie. Hemsi spielte eine promi- im ersten Band der Coplas Sefardies ab- nente Rolle im Musikleben Ägyptens jener gedruckt. Dieses Foto, das vermutlich von Zeit. 1929 gründete er einen eigenen Hemsi selbst gemacht wurde, ist auf S. 10 Musikverlag, Édition orientale de musique, dieses Booklets zu sehen. Es ist die Haupt- in dem neben seinen Kompositionen auch straße des Viertels, die ebenfalls einen Werke anderer in Ägypten lebender Kom- spanischen Namen „Call’ancha“ (Breite ponisten erschienen. Zu ihnen gehörten Straße) trug. Heute ist von La Judería kaum der Dirigent des Symphonieorchesters des noch etwas zu sehen, weil das Viertel ägyptischen Radios Josef Hüttel (1893- Anfang 1945 bei den Bombardements 1951) aus Tschechien, der Ungar Jenö zerstört wurde. Die meisten Juden der Takacs (1902-2005), der damals als Pro- Stadt wurden schon vorher, im Juli 1944, fessor für Klavier am Conservatoire de Mu- nach Auschwitz deportiert und ermordet. sique in Kairo wirkte, der Belgier Gaston Knosp (1874-1942), der ägyptische Kopte

In seiner Zeit auf Rhodos war Hemsi als und Pionier der ägyptischen Komponisten- Alberto Hemsi (in der Mitte) mit dem Männer- und Knabenchor der Eliyahu-Hanavi-Synagoge, Alexandria 1932 Übersetzer und Klavierlehrer tätig, unter schule Yusef Greiss (1899-1961) u.a. Laut anderem unterrichtete er drei Töchter des der Programmschrift des Verlags „L‘Orient schaften und Künsten orientalischer Völker den auch Hemsis theoretische Abhandlun- Bankiers Ruben Capelluto. Die jüngste von à travers la Musique“ (Der Orient durch vertraut sind und den Stempel des unver- gen über „La Musique de la Torah“ ihnen, Miryam Capelluto, wurde später sei- Musik) sollten es „orientalische Werke von gleichlichen Orientalismus tragen, um eine (1929) sowie „La musique orientale en ne Frau, das Ehepaar bekam drei Töchter. Komponisten [sein], die mit dem Leben, angenehme und faszinierende Wirkung Égypte“ (1930) publiziert. 1928 wurde Hemsi zum Musikdirektor den Gewohnheiten, Sprachen, Wissen- zu gewährleisten.“ In diesem Verlag wur- 26 27 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 28

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1941 wurde Alexandria von den deut- türkischer, griechischer oder armenischer dieser Lieder und Balladen als historisches Die folgenden Bände schließen neben stro- schen Truppen besetzt und Hemsis Familie Musik. Besonders bedeutsam sind jedoch Dokument, jener Lieder und Balladen, die phischen Liedern – den eigentlichen musste nach Kairo fliehen. Sein Vater starb seine Verdienste um die Musik sephar- von Liebe, Hochzeiten, Kriegen und Duel- Coplas – aber auch viele Beispiele für an- auf der Flucht, Hemsi selbst erkrankte um discher Juden. Das Wort „Sepharad“ ist len handeln, die vom zärtlichsten Ma- dere Gattungen der sephardischen Musik- diese Zeit an Diabetes. Erst 1945 konnte die hebräische Bezeichnung für Spanien. drigal bis zum schmerzhaftesten Klagelied tradition ein: Romance und Canción. er seine Arbeit in Alexandria wieder auf- Gemeinden der sephardischen Juden – reichen und die ihre doppelte Vitalität mit Romances (oder Romanzas) sind das nehmen. Nach dem Militärputsch und der Nachkommen der ehemals spanischen der Überzeugungskraft der Worte und mit älteste Genre der sephardischen Musik, es Machtergreifung Gamal Abdel Nassers und portugiesischen Juden, die Ende des dem hintergründigen Charme der Musik sind balladenartige Lieder in freier Form, 1954 verschlechterte sich die politische La- 15. Jahrhunderts aus der iberischen Halb- bewahren.“ die von Frauen vorgetragen wurden und ge in Ägypten zusehends. Hemsi war als insel vertrieben wurden, – existierten in deren Texte zumeist an das spanische Jude und als italienischer Staatsbürger den 1920-30er Jahren noch in vielen Län- Die Bezeichnung Copla bedeutet eigent- Mittelalter angelehnt sind. Es geht um gleich doppelt gefährdet. Nach der Suez- dern rund ums das Mittelmeer. In ihrem lich eine bestimmte Gattung sephardischer Könige, Prinzen, Ritter und ihre Geliebten krise musste er Ägypten schließlich flucht- Alltag dominierte die judäo-spanische Folklore: ein strophisches Lied, durch den bzw. Ehefrauen. Viele Lieder behandeln artig verlassen, er ging 1957 nach Frank- Sprache Ladino und auch ihre Folklore Text klar struktureiert, wobei die Strophen historische Vorkommnisse im mittelalter- reich, wo er mittellos ankam und seine war immer noch sehr stark von ihrem in der Regel auf die gleiche Melodie ge- lichen Spanien, die durch mündliche Über- Existenz neu aufbauen musste. Hemsi leb- spanisch-portugiesischen Erbe geprägt. sungen werden. Die Texte der Coplas be- lieferung der sephardischen Juden so in te in Aubervilliers, einem Vorort von Paris. „Die Zahl der auf der ganzen Welt ver- schäftigen sich in der Regel mit der aller Welt verbreitet wurden. Die Ro- Er wurde als Lehrer an das Séminaire streuten spanischen Juden, die sich den jüdischen Lebenswelt, sie handeln vom jü- mances werden zudem oft als Trauer- Israélite de France berufen und unterrichte- Angriffen der Neuzeit dank ihres überaus dischen Alltag, von jüdischen Feiertagen, gesänge, Hochzeitslieder, Geburtslieder te dort angehende jüdische Kantoren. traditionellen Geistes widersetzten und die- Tradition oder Geschichte. Schließlich wer- oder Wiegenlieder gesungen. Außerdem wirkte er als Musikdirektor an se geistigen Schätze nach vier Jahrhunder- den die Coplas zumeist in Gruppen gesun- zwei sephardischen Synagogen. ten des Exils bewahrten, sollte etwa eine gen und oft mit Händeklatschen begleitet. Die Gattung der Canciones (oder Cantigas) Million sein,“ schrieb 1932 der bekannte Dieses Genre erlebte seine Blütezeit im ist in sephardischer Tradition weniger klar Alberto Hemsi beschäftigte sich mit tradi- spanische Musikethnologe José Subirá 17. und 18. Jahrhundert unter anderem in ausgeprägt, damit werden Liebeslieder, tioneller Musik verschiedener Völker des (1882-1980) in seinem Vorwort zum er- Konstantinopel, Saloniki und Livorno. Alle Wiegenlieder, Hochzeitslieder oder Unter- östlichen Mittelmeerraumes, in seinen Wer- sten Band von Hemsis Coplas Sefardies. sechs Lieder des ersten Bands der Coplas haltungslieder bezeichnet, die einen ken benutzte er Elemente arabischer, „Daraus erklärt sich die große Bedeutung Sefardies gehören dieser Gattung an. überwiegend lyrischen Charakter haben. 28 29 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 30

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Ohnehin sind allerdings die Grenzen flüsse gehören. Speziell einige Melodien Durme, durme, hermosa donzella op. 7 Die meisten von ihnen waren Frauen. In zwischen den verschiedenen Gattungen von Romances weisen eine Nähe zum Nr. 2: „Eine andere Version dieses Liedes einem seiner Texte betonte Hemsi: „Die mitunter fließend. arabischen modalen Makamat-System vom gleichen Autor wurde zum ersten Mal sephardischen Frauen – denn es waren sowie eine besondere rhythmische Freiheit in der Zeitschrift ‚Hamenorà‘, dem Organ vor allem die Frauen, die diese poetischen Während die Texte der Coplas Sefardies und einen Reichtum an Ornamentik auf. des Ordens B‘nai b‘rith in Konstantinopel Texte trotz ihrer zahlreichen Varianten und zumeist zweifelsfrei einen sehr alten Möglicherweise sind dies in der Tat im Jahre 1925 veröffentlicht.“ Zunächst geringfügigen Mängel getreu bewahrten Ursprung haben und zum Teil aus der Zeit Spuren einer gemeinsamen mittelalter- sammelte Hemsi traditionelle Melodien und weitergaben, – haben diese genuinen vor der Vertreibung der Juden 1492 stam- lichen jüdisch-arabischen Kultur auf der und Texte im Kreise seiner Familie und Beispiele der Volkspoesie des spanischen men, wird die genaue Provenienz der iberischen Halbinsel, die als „Al-Andalus“ Freunde, später unternahm er ausgedehn- Goldenen Zeitalters auf eine geradezu Melodien bis heute kontrovers diskutiert. bekannt ist. Hemsi erschien es wichtig zu te Forschungsreisen im gesamten östlichen religiöse Weise bewahrt, mit der gleichen Die Ansicht, dass diese Lieder auch in betonen, dass diese Lieder in jedem Fall Mittelmeerraum. Der Höhepunkt seiner Phonetik, mit der gleichen regionalen musikalischer Hinsicht ein getreues Abbild ein Ausdruck des kollektiven Gedächtnis- ethnologischen Tätigkeit fällt in die Zeit Aussprache jener Epoche und, noch wich- der jüdisch-spanischen Folklore aus dem ses der Sepharden und ihrer Sehnsucht von 1928 bis 1935. Er traf türkische, tiger, mit der gleichen Anmut und dem 15. Jahrhundert darstellen würden, gilt nach ihrer verlorenen alten Heimat sind, bulgarische und palästinensische Juden gleichen ungezwungenen Esprit der inzwischen als überholt. Hemsi selbst wies deswegen platzierte er auf jedem Titelblatt und reiste in den Sommermonaten mehr- Geschichten und Balladen aus den ver- auf die deutlichen osmanischen Einflüsse seiner Coplas Sefardies neben dem Ort fach nach Thessaloniki, Rhodos, Istanbul gangenen Zeiten.“ (vgl. auch Hemsis An- in der Musik der Lieder hin, dennoch sah und dem Jahr seiner dazugehörigen ethno- oder Anatolien. Im Vorwort zum zweiten, merkung zu Copla Nr. VI). Die renommier- er darin einen „grundsätzlich iberischen logischen Forschung auch immer den 1933 erschienenen Band seiner Coplas te sephardische Wissenschaftlerin Esther Charakter“, insbesondere in den Liedern Vermerk „España 1492“, mit dem Sefardies erwähnte Hemsi das reichhalti- Fintz Menascé, die auf Rhodos aufge- religiösen Inhalts oder den balladen- die Vertreibung der Sepharden von der ge ethnographische Material, das wäh- wachsen ist, schreibt: „Frauen sangen in artigen Romances. Vermutlich haben die iberischen Halbinsel angedeutet wird. rend seines „langen Aufenthalts in den ihren Häusern, während sie die Haus- Melodien dieser Lieder – genauso wie Juderías [jüdischen Vierteln] von Saloniki, arbeit erledigten, während sie kochten, jüdische Volkslieder in anderen Regionen Das Sammeln und Verbreiten der Musik Konstantinopel, Smirna, Magnesia und nähten und ein Kind in den Schlaf wieg- der Welt – mehrere verschiedene Einflüsse sephardischer Juden war Hemsis Lebens- anderen Orten im Orient“ gesammelt ten. Sängerinnen traten regelmäßig, oft absorbiert, dazu könnten neben den ur- aufgabe. Er begann damit bald nach wurde. Bekannt sind die Namen von 65 mit panderos (Tamburinen), bei Hochzei- sprünglichen spanischen Elementen auch seiner Rückkehr aus Italien. Davon zeugt Volkssängern, denen er dabei zuhörte. ten, Geburten, Beschneidungen oder an- türkische, griechische und arabische Ein- unter anderem eine Anmerkung zum Lied deren festlichen Anlässen auf. Sie sangen 30 31 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 32

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beim Abschied von Pilgern, die nach Jeru- Mittelalter stammen, enthalten also erstaun- durch die Nationalsozialisten und ihre Deshalb zeichnet sich dieser Gesang salem reisten, oder beim Abschied von lich viele „feministische“ Themen, die Kollaborateure sowie die Zerstörung des durch Improvisation und ständig veränder- Auswanderern auf der Suche nach einem den roten Faden der ganzen Sammlung jüdischen Lebens und der jüdischen Kultur te Variation aus. Ursprünglich aus dem besseren Leben oder einfach beim Umzug bilden. in den arabischen Ländern, darunter auch Osten, kehrt er dorthin zurück, nachdem in ein neues Haus.“ in seiner Wahlheimat Ägypten. er durch Sepharad gezogen ist. Niemals Auch die meisten Texte handeln von Frau- Von insgesamt 230 gesammelten Liedern Um die Volkslieder einer breiten Öffentlich- aufgeschrieben oder notiert, ist es ein en und ihren Lebenswelten. Es sind nicht benutzte Hemsi etwa ein Viertel für sein keit zugänglich zu machen, entwickelte natürlicher Gesang, erdacht anhand von nur Liebes-, Hochzeits-, Entbindungs- und wichtigstes Werk, die Sammlung Coplas Hemsi die Form eines Kunstlieds, das die Klängen und nicht Noten. Dies ist meiner Wiegenlieder. In vielen Texten stehen star- Sefardies. Dieser monumentale Zyklus mit authentische volkstümliche Grundlage – Meinung nach der grundsätzliche, ja ke und besondere Frauengestalten im insgesamt sechzig Kompositionen für Gesangsmelodie und Text – mit einer hauptsächliche Unterschied zwischen Mittelpunkt. Es sind ungewöhnliche Frauen Gesang und Klavier auf der Grundlage äußerst anspruchsvollen, raffinierten und natürlicher und gelehrter Musik, zwischen aus weiblicher Perspektive geschildert, wie sephardischer Volkslieder wurde von Hemsi farbenreichen Klavierbegleitung verband. populärer Musik und Kunstmusik, zwischen etwa eine junge Königstochter, die als in zehn cuadernos (Heften) oder series, In diesem neuen stilistischen Kontext offen- oraler und schriftlicher Musik, zwischen Mann verkleidet in den Krieg zieht wie er sie nannte, herausgegeben. Die baren die schlichten traditionellen Gesän- östlicher und westlicher Musik.“ (Nr. XXXI), oder die rätselhafte Frau, die ersten fünf Hefte erschienen von 1932 bis ge ein unerwartetes künstlerisches Poten- einen Mann nach dem anderen tötet 1938 in seinem Verlag Édition orientale tial. Diese Verbindung von Volksmusik und Neben der Einspielung der gesamten (Nr. XLIX). Gesungen wird von einer wun- de musique in Alexandria und die letzten Kunstmusik stellte den Komponisten – aber Sammlung Coplas Sefardies enthält die derschönen Frau, die allein mit ihrer An- fünf als privater Druck im französischen auch die Interpreten – vor eine besondere vorliegende CD-Edition noch sechs Lieder wesenheit den Gottesdienst in der Kirche Exil von 1969 bis 1973. In einer Werbe- Herausforderung. Zugleich bildete sie religiösen Inhalts in hebräischer Sprache, sprengt (Nr. XXIX), oder von einer jungen anzeige von 1973 nannte Hemsi das ge- einen besonderen Reiz der Coplas Sefar- die stilistisch daran anknüpfen. Dazu ge- Frau, die nicht bereit ist, auf ihre Liebe zu samte Werk „Ein judäo-spanischer Roman- dies. Hemsi selbst schrieb dazu: „Poesie hört der Zyklus Fünf hebräische Lieder, verzichten (Nr. XXVI und XXXVII). Es gibt zero“. Der große Zeitraum, der zwischen und Musik, vereint in der Freiheit von Form von denen einige Lieder Texte aus der verführerische und ehebrecherische Frauen den beiden Publikationsblöcken liegt, lässt und Bewegung, folgen nicht der Herr- hebräischen Bibel (darunter Propheten- (Nr. VIII, XIV, XVII, XXXVIII), es wird aber sich mit den tragischen historischen Ereig- schaft der Zahlen. Genauso, wie die bücher von Jesaja, Amos und Hosea so- auch das Leid unglücklich verheirateter nissen erklären: die Vernichtung der se- Poesie ihre Geschichte in unzählbaren wie das Hohe Lied Salomos) benutzen. Frauen thematisiert (Nr. I, XXII, LVIII). Diese phardischen Gemeinden auf dem Gebiet Versen erzählt, singt die Musik ihre Ge- Das dritte Lied ist eine Vertonung eines Volkslieder, die zum großen Teil aus dem des ehemaligen Osmanischen Reichs schichte in Klängen ohne Taktstriche. ... Ausschnitts aus der Schabbat-Liturgie und 32 33 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 34

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das vierte Lied basiert auf dem berühmten Hemsis ethnologische und künstlerische Ar- galten nun als Ausdruck nationalistischer Ausspruch von Rabbi Hillel aus dem talmu- beit wurde in der Musikwelt zunächst mit Gesinnung und waren verpönt. Die tradi- dischen Traktat Pirqe Avot (Sprüche der Interesse verfolgt. Davon zeugen zahlrei- tionelle jüdische Kultur in Europa und im Väter): „Wenn ich nicht für mich bin, wer ist che öffentliche Reaktionen, Pressebe- Nahen Osten wurde durch den Holocaust für mich? Und wenn ich (nur) für mich bin, sprechungen und internationale Aufführun- und die Vertreibung der Juden aus isla- was bin ich? Und wenn nicht jetzt, wann dann?“ gen. So waren seine Coplas Sefardies mischen Ländern ohnehin fast vollkommen 1935 in London in einem Konzert der be- vernichtet. Das Lied Yom gila, yavo, yavo, mit dem kannten spanischen Opernsängerin Con- diese Edition abgeschlossen wird, ist ein chita Supervía (1895-1936) zu hören. Ein Hemsi starb 1975, bald nach der Vollen- populäres sephardisches Lied zum jü- Rezensent berichtete damals: „Der stil- dung des Zyklus Coplas Sefardies. Nach dischen Fest Simchat Tora (Freude der gerechte Vortrag dieser Lieder erfordert seinem Tod geriet sein Werk, das außer- Tora). Mit diesem fröhlichen Fest wird in unbedingt die Kenntnis orientalischer Ge- dem viele vokale und kammermusikalische jedem Herbst der Abschluss der litur- sangsmanieren wie Stimmglissandi, nasal Kompositionen, sowie zahlreiche Arbeiten gischen Jahreslesung der gesamten Tora- oder rauh und kehlig klingende Töne, auf dem Gebiet der synagogalen Musik Texte gefeiert. Dieses Lied gehört zur häufiges Falsettieren sowie Leichtigkeit in einschließt, in Vergessenheit. Die vor- Gattung der Pizmonim – es sind traditio- der Wiedergabe der zahlreichen Melis- liegende Aufnahme ist die erste Gesamt- nelle Lieder in hebräischer Sprache, die men.“ Demnach wäre die Aufführung einspielung der Coplas Sefardies in ihren die Gottpreisung mit bestimmten didak- „eine mustergültige Interpretation“. Originalfassungen. Es ist zu hoffen, dass tischen Aspekten verbinden und außerhalb auch weitere Werke Hemsis dem Verges- der Synagoge gesungen werden. Hemsi Bereits in den 1930er Jahren geriet die sen entrissen werden. notierte es 1932 während seines For- jüdische Musik in Europa allerdings schungsaufenthalts in Saloniki, zwei Jahre wegen der politischen Entwicklungen und Jascha Nemtsov später publizierte er in Alexandria seine des wachsenden Antisemitismus generell Bearbeitung, die laut seinem Vorwort „ver- und zunehmend ins Hintertreffen. Nach

sucht, die Gefühle, die dieser Volksmystik dem Krieg setzten sich in der euro-

innewohnen, durch verschiedene musika-li- päischen Musik betont kosmopolitische Alberto Hemsi sche Nuancen herauszuarbeiten.“ Richtungen durch, folkloristische Bezüge in den letzten Lebensjahren in Paris 34 35 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 36

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Tehila Nini Goldstein ist eine Sängerin Preis 2018); das Ensemble Meitar; der men mit Kammermusikpartnern wie David mit immensem Ausdruck und einer warm Gitarrist Nadav Lev (CD New Strings Geringas, Tabea Zimmermann oder Kolja timbrierten Stimme, unkonventionell und beigefügt) und viele mehr. Blacher. Er nahm bislang rund 40 CDs vielseitig, eine Musikerin mit breitem Re- Sie ist Preisträgerin des Cesti-Gesangswett- auf, darunter zahlreiche Ersteinspielungen pertoire sowohl im Sopran- als auch Mez- bewerbs (Innsbrucker Festwochen) und des © Sarah Nemtsov von Werken jüdischer Komponisten. 2007 zosopranfach. Ihre musikalischen Interes- Liederkranz-Liederwettbewerbs (New York) bekam er den Preis der Deutschen Schall- sen reichen vom frühen Barock und Volks- und wurde von der AICF gefördert. plattenkritik und 2018 den Preis OPUS musik bis hin zu Stücken zeitgenössischer Tehila ist eine gebürtige New Yorkerin, die KLASSIK für seine Anthologie aus 5 CDs Musik, die zum Teil speziell für ihre einzig- in den Judäischen Bergen in der Nähe mit Klavierwerken des im Stalinismus ver- artigen Stimmfähigkeiten komponiert wur- von Jerusalem aufgewachsen ist. Im Alter folgten Komponisten Vsevolod Zaderatsky den. Mit Freude wechselt sie fortwährend von 12 Jahren begann sie im Mädchen- (HC17035). Tehila Nini Goldstein und zwischen Oper, Lied und kammermusika- chor „Ankor“ in Jerusalem zu singen, mit Jascha Nemtsov arbeiten bereits seit mehr lischem Repertoire. dem sie unter Leitung von Claudio Abba- als zehn Jahren zusammen. Ihr erstes Zu ihren musikalischen Partnern gehören do, Kurt Masur, Antonio Pappano, Zubin gemeinsames Projekt war die Wiederent- das in Wien ansässige Ensemble „Sferraina“ Mehta, Luciano Berio und anderen heraus- deckung des herausragenden deutsch- (CD Monkeyfish); das Prager Orchester ragenden Musikern unserer Zeit sang. Der Pianist und Musikwissenschaftler jüdischen Komponisten Jakob Schönberg „Collegium 1704“ unter Vaclav Luks Nach einem zweijährigen Militärdienst Jascha Nemtsov wurde 1963 in mit der Doppel-CD Another Schönberg (L’Olimpiade; Rinaldo; h-Moll-Messe); das wählte sie mit 20 Jahren Musik als ihren Magadan (Russland) geboren und absol- (PH12023), die international viel beachtet Kammerorchester „I Barocchisti“ unter beruflichen Weg. Sie lebt derzeit mit ihrem vierte das St. Petersburger Staatliches Kon- wurde. Die beiden Musiker verbindet unter Diego Fasolis; das Barockmusikensemble Ehemann, dem Bariton Tomáš Král, und servatorium. Er lebt seit 1992 in Deutsch- anderem ihr Interesse für jüdische Musik „Les Arts Florissants“ unter William ihren beiden Söhnen in Berlin. land. Nemtsov wurde 2013 als Professor des 20. Jahrhunderts. So haben sie Christie (Les Jardin des Voix; La Didone); für Geschichte der jüdischen Musik an die mehrere Konzertprogramme mit Werken die Komponistin Sarah Nemtsov (L’Absence Hochschule für Musik Franz Liszt Weimar jüdischer Komponisten wie Mieczyslaw bei der Münchner Biennale; Sacrifice in berufen. Darüber hinaus ist er Akademi- Weinberg, Mosche Milner oder Joseph der Oper Halle; Verflucht an der Salz- scher Direktor der Kantorenausbildung des Achron gestaltet. Seit 2010 führen sie in burger Taschenoper); der Pianist Hinrich Abraham Geiger Kollegs Potsdam. Als ihren Konzerten Lieder aus dem Zyklus Alpers (CD Rudi Stephan, Opus Klassik Pianist konzertiert er weltweit u.a. zusam- Coplas Sefardies von Alberto Hemsi auf. 36 37 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 38

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COPLAS SEFARDIES (CHANSONS JUDÉO-ESPAGNOLES) En medio de esta tovaja, In the middle of the napkin ҫ Volume 1, Op. 7 (Spain 1492 – Rhodes 1932) Ansias de mi cora ón; are the sorrows of my heart. © Edition Orientale de Musique, Alexandria (Egypt) 1932 Se las mandaré a mi padre, I will send it to my father Que por mi él tome dolor. so that he will grieve for me. I. Yo tomí una muchacha I married a young woman This song, which deals with the lavishness of a man whose wife of noble descent has to

work hard, is known in the 16th century Spanish theater. It is included in several versions – Yo tomí (tomé) una muchacha – I married a young woman, in Hemsi's folklore collection (cf. Copla No. LVIII). Hija de un gran Siñor; the daughter of a noble man. Muncho (mucho) me trujo con ella, She brought a lot with her, Más y más tenía yo. I had even more. II. Durme, durme, hermosa donzella Sleep, sleep, beautiful maiden

Mi mujer era pomposa, My wife was a pompous woman, Durme, durme (duerme), hermosa donzella, Sleep, sleep, beautiful maiden, Yo un hombre gastador; I am a big spender. Durme, hermosa, sin ansia y dolor. sleep, sleep, without worry nor pain. Gastí (gasté) lo mio y lo suyo I spent all I and she had Heq (he aquí) tu esclavo, que tanto desea Here is your slave who desires so much Y lo que el padre a ella le dió. and all of what her father gave her. Ver tu sueño con grande amor. to see your dream with great love.

Agora por mis pecados Now, because of my sins Siente, joya (gióya), el son de mi guitarra; Hear, [my] jewel, the sound of my guitar, Vine a ser enfilador; I became a thread spinner. Siente, hermosa, mis males cantar. Listen, my beautiful one, Mi mujer fila a una a una, My wife spins one by one, Yo no durmo ni noche ni día; to the singing of my sorrow. Yo enfilo a dos a dos. I spin two by two. A los que aman angusia (angustia) los guía. I do not sleep in the day nor in night.

– Dame seda de Brussa – Give me silk from Brussa Siempre, joya, simepre quería, Grief guides those who love, [my] jewel, Y clavedón (clavelón) de Stambol. and golden threads from Istanbul. Ver tu sueño con grande amor. I always wanted to see your dream Lavraré (bordaré) yo una tovaja (tohalla) I will embroider you a napkin Siente, joya, mírame en la cara; with great love. La luna y el ojo del sol. with the moon and the eye of the sun. Si no me miras, me queres (quieres) matar. Listen, [my] jewel, look at my face; if you don’t look at me, [it means] you want to kill me. 38 39 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 40

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In Hemsi’s folklore collection, this serenade (canción de ronda) is titled „La hermosa Y pasaréch. and you will pass. durmiente” (The sleeping beauty). Si tenéch hija valida, – If you have a respectable daughter Dámela a mi por amiga give her to me as my beloved III. No paséch por la mi sala Do not pass by my hall Y pasaré. and I will pass. Pasaré y tornaré… etc. I will pass and turn around… etc. No paséch (paseis) por la mi sala. – Do not pass by my hall, Que tengo hija galana I have a graceful daughter, Very old song in dialogue between the mother of a pretty young girl and the boys who Y pasaréch. (pasareis) and you will pass. loiter around the house in the hope of catching a glimpse. This cantiga of the Hispanic Si tenéch (teneis) hija galana, – If you have a graceful daughter, period was collected in Rhodes in 1924, and it is unknown by other communities. Dámela a mi por amada give her to me as my beloved Assonanced like the songs and romances of the 15th century, its verses exude a simple Y pasaré. and I will pass. poetry, fresh and naive, without the hyperboles of the old romances. The couplet form of Pasaré y tornaré, I will pass and turn around, dialogue and refrain are well balanced, and sung to a melody that starts in major and Y l’avlaré (le hablaré) y le diré I will speak to her and tell her, ends in minor. From a functional aspect, this is a jolly song sung at betrothals and at Que la vía no es suya; that the road is not hers, care-free passe-temps between girls and boys. (A.H.) Es del Rey. It belongs to the King. IV. Dicho me avían dicho I was told No paséch por mi cortijo, – Do not pass by my courtyard, Que tengo hijo garrido, I have a handsome son, – Dicho me avían dicho – I was told Y pasaréch. and you will pass. Que mi amor está en Venecia that my love is in Venice. Si tenéch hijo garrido – If you have a handsome son A sentado en silla de oro Seated on a golden throne, Dámelo a mi por marido give him to me as a husband Con una grande presencia. his appearance is very grand Y pasaré. and I will pass. Madre, deme la lecencia (licencia), Mother, give me permission, Pasaré y tornaré, I will pass and turn around, Con mi amor me quero (quiero) ir; I want to go with my beloved, Y l’avlaré y le diré … etc. I will speak to her and tell her … etc. Yo casada quero ser, I want to be married. Casadica quero ser, mi madre, Married I want to be, my mother No paséch por mi cusina (cucina), – Do not pass by my kitchen, Con aquel que amava yo. to the one whom I love Que tengo hija valida I have a respectable daughter, ¡Biva (Viva) él y no muera yo! May he live long and may I live long [to see him.] 40 41 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 42

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– Hija mía, si te vas, – Daughter of mine, V. Mi sposica está en el baño My fiancé is at the bathhouse Echa tino, para mientes; if you go away, Por los caminos que irás be attentive and take notice. Mi sposica (esposita) está en el baño My bride is at the bathhouse, No hay primos ni parientes. In the roads you are about to take Vestida de colorado. dressed in red. – Madre, deme la lecencia, there are no cousins or relatives. Échate a la mar, Jump into the sea, Con mi amor… etc. – Mother, give me permission… etc. Échate a la mar y alcanza (alcansa). jump into the sea and your wish Échate a la mar. will be fulfilled. – Quen (Quien) ha de ser mujer casada – She who wants to be a married woman, Si, echar yo bien me echava Jump into the sea. Ne conviene a ser haragana, should better not be lazy Si el mi amor lecencia me dava. Yes, I will throw myself into the sea, Sino luzia (lucia) y muy galana but be radiant and very graceful. Échate a la mar. if my beloved gives me permission. De guiño por bien parecer. In a blink to look handsome. Échate a la mar y alcanza. Jump into the sea, – Madre, deme la lecencia… etc. – Mother, give me permission… etc. Échate a la mar. jump into the sea and your wish will be fulfilled. – Quen ha de ser mujer casada – She who wants to be a married woman, Mi sposica está en el rio Jump into the sea. No conviene a ser calejera (callejera), should not wander in the streets, Vestida de amarillo. Sino linda y muy ligera but better be pretty and charming. Échate a la mar, My bride is at the river, De guiño por bien parecer. In a blink to look handsome. Échate a la mar y alcanza. dressed in yellow. – Madre, deme la lecencia… etc. – Mother, give me permission… etc. Échate a la mar. Jump into the sea, Si, echar… etc. jump into the sea and your wish This old song was well known throughout Anatolia at the end of the 19th century. will be fulfilled. Collected in 1921 in Cassaba, it is one of the rarest and poignant pieces of the Sephardi Jump into the sea. repertoire due to its sweet and romantic expressiveness. Originating from the Hispanic Yes, I will throw myself… etc. period by its language, form and content, its melody is no less ancient. On the contrary, its rhythm and tonality, as well as succession of tones by conjunct degrees, all indicate its The lyrics and melodies of these two pieces [Coplas Nos. V. and XV.], both with refrain, Mediterranean origins and its antiquity is well evident. (A.H.) This wedding song in the form of a dialogue between a girl and her mother was also 2/4 meter and in major with a lilting rhythm, are of different provenance. The first is from called „El amor en Venecia” (The love in Venice). Hemsi learnt it from his mother; in his the repertoire of Rhodes; the second from Salonika. Both date from the Hispanic period. collection it is titled „Consejos a la novia” (Advice to the bride). Their identity does not rely only on musical and literary aspects but also on function and 42 43 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 44

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are consecrated by long tradition. In effect, these two melodies were sung in honour of Ansí dize la nuestra novia: So says our bride: the young brides-to-be just before marriage on the day called dia del bano („the day of – ¿Cómo se llaman los cavellos? – How do you call the hair? the prenuptial bath”). On this day, the relatives and girl-friends of the nuptial couple, – Esto no se llama cavellos, – This is not called hair, accompanied by musicians, meet at the bath house and flourish a panoply of cosmetics, Sino briles (hilos) de lavrar (bordar). but golden thread for embroidery. perfumes and soaps on behalf of the young husband-to-be. La toilette is commenced in Ah! Mis briles de lavrar! Oh, my golden thread for embroidery! the midst of songs specific to this occasion, and once completed they partake of every Ah! Mi toronja de toronjal! … etc. Oh, my grapefruit from a grapefruit kind of delicacy and sweet as a token of good augur. The ceremony of the bath lasts the tree!... etc. better part of the day for it comprises many operations, beginning with the manicure of Ansí dize la nuestra novia: the hands and the pedicure of the feet, the application of depilatories, the ritual ablutions – ¿Cómo se llama la frente? So says our bride: and the application of the henna; a usage probably borrowed from the surrounding – Esto no se llama frente, – How do you call the forehead? Muslim population. The return of the young lady to her father's house takes place Sino spada (espada) reluziente. – This is not called forehead, amidst songs of joy, with these same melodies often being repeated by parents and Ah! Mi spada reluziente! but a shining sword. girl-friends. (A.H.) Ah! Mis briles de lavrar!... etc. Oh, my shinning sword! Oh, my golden thread for embroidery!... The Turkish word baño in this wedding song is the Jewish mikveh (ritual bathhouse). Ansí dize la nuestra novia: etc. – ¿Cómo se llaman las cejas? – Esto no se llama cejas, So says our bride: VI. Ansí dize la nuestra novia So says our bride Sino arcos de tirar. – How do you call the eyebrows? Ah! Mis arcos de tirar! – These are not called eyebrows, Ansí dize la nuestra novia: So says our bride: Ah! Mi spada reluziente! but bows for bowing. – ¿Cómo se llama la cavesa (cabesa)? – How do you call the head? Oh, my bows for bowing! – Esto no se llama cavesa, – This is not called head, Ah! Mis briles de lavrar! Oh, my shinning sword! Sino toronjo (toróngia, torongial) but a grapefruit from a grapefruit tree Ah! Mi toronja de toronjal! de toronjal. Oh, my grapefruit from a grapefruit tree! Ah! Mis campos espaciosos! Oh, my golden thread for embroidery! Ah! Mi toronja de toronjal! Oh, my spacious field! Biva la novia con el novio! Oh, my grapefruit from a grapefruit tree! Ah! Mis campos espaciosos! Long live the bride with the groom! Oh, my spacious field! Biva (Viva) la novia con el novio! Long live the bride with the groom! 44 45 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 46

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Collected in 1921 in Cassaba, this song was as well known amongst the Sephardi Volume 2, Op. 8 (Spain 1492 – Rhodes 1932) communities of Izmir, Aden and Manissa as it was amongst those of Rhodes. There, in © Edition Orientale de Musique, Alexandria (Egypt) 1933 1924, I collected a second musical version with several variants. Sung by the parents and friends of the young bride-to-be the eve of her marriage – a sign of its elevated status VII. Como la rosa en la güerta Like the rose in the garden – [the song is] in praise of her beauty. Like many other romances and songs, it was also sung during meetings of friends for whiling away the time and providing amusement. The Como la rosa en la güerta Like the rose in the garden first version was dictated to me by an aged lady of some sixty years [Hemsi’s mother!], Y las flores sin avrir, and flowers not yet in bloom, illiterate like all housewives of her age and epoch. Endowed with a most agreeable and Ansí es una donzella so is a young maiden in-tune voice, she sang on several occasions all in the same tone, as is frequently the case A las horas del murir. at the hours of dying. in the notation for other popular songs by this collection. The second version was dictated to me in 1924 by an informant from Rhodes, some 45 years of age, who was touted Tristes horas en el día Sad were the hours of that day as a connaisseur of the repertoire of traditional songs. A married man who was by Que hazina ya cayó as she fell ill. profession a women’s dressmaker, he had an agreeable voice and often sang in imitation Como la reina en su lecho Like the queen on her bed Ya cayó y se dezmayó. She collapsed and fainted. of feminine voice and gestures, a habit undoubtedly picked up from his female clientele. […] Orally transmitted by the Sephardi women, like all other traditional songs and A dirge (endecha) in which a mother laments the death of her young daughter. secular ones as well, this epithalame has long been sung, probably since the 16th century. Given its use, its ornamental function and the circumstances in which it was inter- VIII. El rey por muncha madruga The king, rising early in the morning spersed, it might be considered an expression of liveliness that causes it to surpass the melodic limits habitual to popular songs. (A.H.) El rey por muncha madruga The king, rising early in the morning, Onde la reina iva went to the queen’s quarters. A la reina topo en cavellos, He found her with loosened hair Peinándose sus destrensados. combing out her braids. Con espejo de oro en su mano, With a golden mirror in her hand, Mirándose su bel galano. looking at her graceful figure.

This is a short fragment from a popular medieval Castilian ballad called „Landarico” about an adulterous queen whose treachery is discovered by her husband, the king. 46 47 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 48

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Landarico is the name of the queen’s lover. To avoid punishment, this medieval femme collection] – one must consider the substitution of an ancient, lost melody, forgotten or fatale arranges for her husband to be murdered. In a later version, however, she is killed by deliberately replaced by the anonymous composer of the present musical version. Be as it her husband. The queen referred to in this romance is believed to have been Fredegund, may, a detailed analysis shows that we are not dealing with a rhythm whatsoever easily the wife of a 6th- century Merovingian Frankish king, Chilperic I. The romance was popu- grasped by ear, especially when listening to an interlocutor unaccompanied by per- lar throughout the whole Sephardi world and is known in several variations. cussion instrument. I cannot but mention the difficulty I had in figuring out its rhythm, which is one of the most complex of Turkish art music. Indeed, the Oriental music has a IX. Tres hijas tiene el buen rey The good king has three daughters great variety of rhythms that have nothing in common with those of Western music. For the Oriental musician does not conceive of the rhythm in general as a Western musician Tres hijas tiene el buen rey, The good king has three daughters, does, for the simple reason that the rhythm of Oriental music consists of a series of heavy Tres hijas cara de luna; three daughters with faces like the moon. (doum) and light (tek) beats. […] Rhythmically, this romance is composed of two bars. La más chiquitica de ellas The youngest one One bar of 7/8 is followed by another of 9/8, having a combined measure of 16 beats Delgazina se llamava. was called Delgazina. and containing the ternary beats called aksak, or „limping”. Its tonal structure is quite curious, because it starts in C sharp minor and ends in F minor. (A.H.) Un día estando en la meza One day, sitting at the table, El su padre la mirava; her father was staring at her. This song is the beginning of a famous old Spanish ballad about a king’s incestuous and – ¿Que me mira, el mi padre, – Why are you staring at me, father? eventually deathbringing passion for his youngest daughter, Delgadina (in this version que me mira demazía? Why are you staring at me so much? called Delgazina). – Yo te miro, la mia hija, – I am staring at you, my daughter, que de ti me enamorava. because I fell in love with you. X. ¡Ah, el novio no quere dinero! Ah, the groom wants no money – ¡Calla, calla, el mi padre, – Quiet, quiet, my father! y no dezhonore a mi madre! Do not dishonor my mother, ¡Ah el novio no quere dinero! Ah, the groom wants no money. ¡Ser madrasta de mis hermanas Becoming a stepmother to my sisters, Quere a la novia de mazal bueno. He wants the bride of good fortune. y comblesa de mi madre! second wife alongside my mother! Yo vengo a ver I come to see, Que gozen y logren may they be joyous and prosper. One cannot but be perplexed upon discovering, on the one hand, the unquestionably Y tengan muncho bien. Ah, the groom wants no ducats. Hispanic origins of the text and, on the other, the music’s patently Turkish origins and ¡Ah, el novio no quere ducados! He wants the bride of grand fortune. aesthetics. For the production of such a hybrid – nor is it the only such case [in the Quere a la novia de mazal alto. I come to see, 48 49 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 50

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Yo vengo a ver may they be joyous and prosper. ¡Vengáx en buen’hora! as they see the musicians. Que gozen y logren It is really happening, my bride. Y tengan muncho bien. Ah, the groom wants no bracelets. Welcome at this happy time! ¡Ah, el novio no quere manillas! He wants the bride and her joyful face. Quere a la novia cara de alegría. I come to see, Its use [of the song] in Rhodes, like many secular traditions, was reserved for the week- Yo vengo a ver may they be joyous and prosper. day in which the dowry of the young bride-to-be was sent to the home of her future hus- Que gozen y logren band. This was done with great pomp and circumstance in a cortege of parents and Y tengan muncho bien. friends accompanied by professional musicians and singers. The dowry sent to the fiancé’s house would also contain a gift for the bride’s future mother-in-law, a piece of This humorous wedding song consists of a total of six stanzas. The last three stanzas, jewelry or even a sumptuous piece of clothing. The mother of the fiancé would later pay which are not used here, reverse the meaning of the first three ones. a return visit in order to express her thanks. On this occasion they sang Vengax en buen hora, sinora coshuegra, as they did whenever visiting with each other during the engage- XI. Vengáx en buen’hora, Welcome at this happy time, ment period or during some special celebration, either national or religious. The style of siñora coshuegra honorable mother-in-law this melody is richly embellished with transitional notes, appoggiatures, etc., that one would never expect to find in Sephardi music, for all that it is so varied and diverse. Be Vengax en buen’hora, Welcome at this happy time, as it may, this melody would seem to be originally oriental. It might well be of the ancient siñora coshuegra (suegra), honorable mother-in-law. Turkish style of the sixteenth or seventeenth century. A rare example of the Sephardi En buen’hora, en buen’hora Congratulations! In this happy time musical literature, it was known only in Rhodes and only by very few informants when mos se cumplió la boda. the wedding is consummated. collected in 1932. (A.H.) ¡Cien años mos ture dichosa! May this happiness last for a Es cosa que ya puede ser, mi novia, hundred years! ¡Linda y tan hermosa! It is really happening, my bride, XII. Estávase la mora en su bel estar There was the Moorish girl pretty and so beautiful! ¡Que lindas coshuegras de altos amores! * Esta canción es un singular ejemplo de * This song is a unique example of melo- Hasta que les suven las lindas colores, How pretty they are, mothers-in-law of melodía cuya letra sirve para acompañar dy whose lyrics are used to accompany a Para ver a los tañedores, such love, un juego infantil. (A.H.) children’s game. (A.H.) Es cosa que ya puede ser, mi novia, radiant and bright of pretty colors, 50 51 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 52

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Estávase la mora en su bel estar, There was the Moorish girl in her happy state. Volume 3, Op. 13 (Spain 1492 – Saloniki 1932) Venia la moxca por hazerle mal. Along came the fly to do her harm. © Edition Orientale de Musique, Alexandria (Egypt) 1934 La moxca a la mora, The fly to the girl, ¡Mezquina la mora poor Moorish girl XIII. Una hija tiene el rey The King has a daughter Que en los campos mora! who dwells in the fields! Una hija tiene el rey The King has a daughter, Estávase la moxca en su bel estar, There was the fly in its happy state. Una hija regalada. a much loved daughter. Venia la abezba por hazerle mal. Along came the bee to do it harm. La metió en altas torres He put her in high towers La abezba a la moxca, The bee to the fly, Por tenerla bien guadrada. to have her well guarded. La moxca a la mora, the fly to the girl, ¡Mezquina la mora poor Moorish girl Un día por las calores One very hot day Que en los campos mora! who dwells in the fields! Aparóse a la ventana. she appeared at the window. Vido venir un segador She saw a harvester approaching, Estávase la abezba en su bel estar, There was the bee in its happy state. Segando trigo y cevada. harvesting wheat and barley. Venia la araña por hazerle mal. Along came the spider to do it harm. This song is a fragment from a well known ballad with erotic innuendo, in which a La araña a la abezba, The spider to the bee, princess is shown as a seductive woman. La abezba a la moxca, the bee to the fly, La moxca a la mora, the fly to the girl, ¡Mezquina la mora poor Moorish girl XIV. Aquel conde y aquel conde That Count, that Count Que en los campos mora! who dwells in the fields! (Mexidéra = Canción de cuna) (Mexidéra = Lullaby)

Aquel conde y aquel conde That Count, that Count, The popular children’s song „La mosca y la mora” (The fly and the Moorish girl) is a Que en la mar sea su fin. may he find his end in the sea. cumulative song in that each verse is built on top of the previous verses. Armó naves y galeas He gathered ships and galleys. Para Francia quijo ir. He wanted to sail toward France. Armólas de todo punto He armed the fleet well Echólas a dientro del sangí. and sent it to the Saint Gil [river]. 52 53 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 54

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This romance which, as many others, is reminiscent of France, is one of the most ancient See Hemsi’s note on the song Mi sposica está en el baño (Copla No. V). of the Hispanic period. (A.H.) The complete text of this lullaby combines fragments from three medieval ballads, the XVI. Aquel rey de Francia That King of France oldest of which, „Almerique de Narbona”, dates from the Carolingian period. Almerique (or Aymery) from Narbonne, a legendary hero from the medieval French epics (including Aquel rey de Francia tres hijas tenía That King of France had three daughters. „The Song of Roland”), is believed to have lived in the late 8th century. The second La una cortava y la otra cuzía; One was cutting the fabric, ballad, „Roncesvalles”, tells of the battle of Roncesvalles in 778 that is described in „The La más chiquitica bastidor hazía. the other was sewing. Song of Roland”. The largest fragment comes from the third ballad, „Las bodas en París” Lavrando esfueño le venía, The youngest was working (The Wedding Feast in Paris), about an adulterous wife who tries to seduce a nobleman La madre con ravia harvarla quiería. on her embroidery frame. (a count) during a wedding party. While embroidering she had a dream. Her mother became angry XV. Ya salió de la mar la galana The fair maiden came out of the sea wanted to hit her.

¡Ya salió de la mar la galana! The fair maiden came out of the sea, This song contains only the beginning of the famous Sephardic ballad „El Sueño de la Con un vestido al y blanco, dressed in pink and white. Hija“ (The Dream of the Daughter): The king’s youngest daughter has a dream that is Ya salió de la mar. She has come out of the sea. interpreted by her mother as a prophecy for her future happy marriage.

Entre la mar y el río Between the sea and the river Mos creció un arvol de bimbrillo, a quince tree was growing. XVII. Yo me alevantí un lunes I rose one Monday morning ¡Ya salió de la mar! She has come out of the sea. Yo me alevantí un lunes por la mañana I rose one Monday morning, Entre la mar y la arena Between the sea and the sand Tomí mi arco y mi flecha I took my bow and arrow Mos creció un arvol de canela, a cinnamon tree was growing. En la mi mano derecha. in my right hand. ¡Ya salió de la mar! She has come out of the sea. ¿Y ande la fuera yo a tañer? And where would I go to use them? ¡Ya salió de la mar la galana! The fair maiden came out of the sea, A puertas de mi enamorada. To the door of my beloved. Con un vestido al y blanco, dressed in pink and white. – Avridme la puerta mi bien – Open the door for me, my love, Ya salió de la mar. She has come out of the sea. Avridme la puerta mi alma. open the door for me, my dearest. 54 55 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 56

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In a jocular way, the ballad „La adúltera” (The adulteress) addresses the adversities of an Debaxo la ventanica below the window adulterous woman. Ande moro yo. where I dwell.

XVIII. Ya abaxa la novia The bride is coming down (Boceto de boda) (Wedding sketch) Volume 4, Op. 18 (Spain 1492 – Saloniki 1932) © Edition Orientale de Musique, Alexandria (Egypt) 1935 Ya abaxa la novia para el varandado. The bride is coming down to the entrance hall. Me espanto no le caygan los ducados. I am afraid her ducats might fall down. XIX. Triste está la infanta Sad is the princess Por abaxo, por arriva From below, from above, (Canción de veladas de paridas) (Song of nights after the childbirth) Debaxo la ventanica below the window Ande moro yo. where I dwell. Triste está la infant, Sad is the princess, – más triste de cada día. sadder and sadder every day. Ya abaxa la novia para el curtijo. The bride is coming down to the courtyard. (Ay!) más triste de cada día. (Ay!) sadder and sadder every day. Me espanto no le caygan los anillos. I am afraid her rings might fall down. Y porqué non la casó el su padre – Because her father didn’t marry her Por abaxo, por arriva From below, from above, ni el su cuidado tenía. off nor did he take care of her. Debaxo la ventanica below the window (Ay!) ni el su cuidado tenía. (Ay!) nor did he take care of her. Ande moro yo. where I dwell. This romance – a unique example collected in Saloniki in 1932 – would be sung during Ya abaxa la novia para la cusina. The bride is coming down to the kitchen. las veladas, in which the elderly women would gather around a newly-delivered mother Me espanto no le caygan las manillas. I am afraid her bracelets might fall down. to pay their respects, especially if the new-born were a boy. In this case, the ceremonies Por abaxo, por arriva From below, from above, would assume an importance quite different from that which attended the birth of a girl. Debaxo la ventanica below the window For boys, it was a question of preparing the ceremony of circumcision during the eight Ande moro yo where I dwell. days after birth; for girls they would make do with a modest family reunion, summoning a rabbi for the blessing of the infant and the name-giving. In Rhodes and in Asia Minor this Ya abaxa la novia para el lavandón. The bride is coming down to the laundry room. ceremony was called noche de siete candelas; the „night of seven candles”. Choosing a Me espanto no le cayga el cordón. I am afraid her necklace might fall down name was not always that simple a matter. It was also necessary to take the grand- Por abaxo, por arriva, From below, from above, parents into account, for they would often intervene with demands of their own. (A.H.) 56 57 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 58

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The lyrics of the song come from the 16th century ballad „El romance del Conde Alarcos XXI. Bendicho su nombre Blessed is the name y de la Infanta Solisa” (The Ballad of Count Alarcos and the Infanta Solisa) about a (Plegaria en „ladino”) (Prayer in „Ladino”) young woman who secretly gives birth to a child and sends for her lover to give it to him. * Traducción de la plegaria aramáica * Translation of the aramaic prayer „Berih shemé” (A.H.) „B’rikh shmei” (A.H.)

XX. Estávase la galana There was the fair maiden ¡Bendicho Su nombre del Siñor del mundo! Blessed is the name of the Master (Cansión de noches de almusáma) (Song of nights of almusáma) ¡Bendicha Tu corona y Tu lugar! of the world. Sea Tu veluntad con Tu Puevlo Yisraél Blessed is Your crown and Your place. * Al-musáma = * Al-musáma = The night between para siempre, May Your desire be with Your people noche de Sábado a Domingo que Saturday and Sunday preceding the Y rezgata de Tu derecho. Israel forever, and show the salvation precede la boda y en la cual se wedding in which the dowry was Amostra a Tu puevlo en casa de of Your right hand to Your people exponía el ajuar. (A.H.) displayed. (A.H.) Tu santedad, in Your Holy Temple, Para suntrayer a nos, and bring to us Estávase la galana There was the fair maiden, De buendad de Tu claridad, of the goodness of Your light, Sillando en su cavallo saddling her horse. Y por recivir nuestros „tefilot” and accept our prayers with mercy. Sillólo y bien sillólo. She saddled him well, con piadades, May it be desirable before You Con amores with love. Sea veluntad delantre de Ti, to lengthen our days in goodness, Con amores mi novia. With love, my bride, Que alargues a nos vidas con bien. and that I, your servant, Con savores. with pleasure. Y para ser yo Tu siervo, be counted among the righteous, Contado entre los justos, that You may love me Llevólo a bever agua She took him to drink water. Por apiadar sovre mi, and protect me Las aguas eran truvias The water was murky. Y por guardar a mi, and all that is mine, Se sobrevió el cavallo. The horse became angry. Y a todo lo que a mi, and all that is to Your people Israel. Con amores With love, Y lo que a Tu puevlo Yisraél. You are the One Who feeds all Con amores mi novia. with love, my bride, ¡Tu sos que mantienes a todos! and provides for all. Con savores. with pleasure. ¡Y governas a todos! You are the ruler of everything; 58 59 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 60

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¡Tu sos que podestas sovre lo todo! You are the One Who rules over kings, XXIII. Tanto fuites i venites Many times have you left ¡Tu sos que podestas sovre los reyes! and kingship is Yours alone. and returned ¡Y el reinado Tuyo es! Tanto fuites i venites – y en tus tierras me truxites. Many times have you left and returned This prayer is recited in the Jewish service when the Torah scroll is taken out of the Torah No me emporta por la venida – until you have taken me to your homeland. ark. The text originates from the Kabbalistic book „Zohar”. The musical setting is to be que muy bien me pasí en ella. I don’t mind my arrival here for I am sung alternatively by cantor and chorus. Me emporta por padre y madre – received here kindly. que me alexí de sus mesa. My heart only aches for my father and XXII. Quien quiere tomar consejo Whoever wants to take advice mother that I am leaving their table (side).

Quien quiere tomar consejo – Whoever wants to take advice, come to This is a very short fragment of a Sephardic wedding ballad: Seven brothers in a castle venga ande mí, se lo daré; me: I shall give it to him. see a beautiful girl and cast a dice to find out which of them will marry her. After the Quien quiere casar con mosa – Whoever wants to marry a young bride youngest brother wins, a magnificent wedding is prepared. que no se aspere a la vejez. should not wait until old age.

Marriage amongst the Sephardim of old was arranged between the parents or grand- XXIV. Mercar vos quiero, I want to buy you something, parents of the two parties, never more than 14 to 16 years for the girls or 18-20 for the la mi mujer (Chanson á boire) my dear wife (Drinking song) boys; the consent of neither party ever having been solicited... But the gap in ages was never as great as in this romance, which once again employs poetic exaggeration in – Mercar vos quiero, la mi mujer, – I want to buy you something, order to stress the contrast between the characters of the plot. […] As to the singing of this Mercar vos quiero un par de shuecos; my dear wife, romance, my informants have varying opinions: for some it is a mexidera or lullaby, for – Pie tuerto no mete shueco. I want to buy you a pair of clogs; others a wedding song. Be as it may, this is one of the most beautiful and ancient pieces I – ¡Con esto, la mi mujer, – Crooked feet do not need clogs. have ever collected. (A.H.) Echémos el tiempo en el bever! – In that case, my wife, let us spend Hemsi composed only the first two verses of the romance, the text of which is a combi- this time together with a good drink! nation of two complementary ballads. Both are about an unequal marriage between an – Mercar vos quiero, la mi mujer, old man (of 100 years!) and a young girl. While the first ballad describes a Jewish Mercar vos quiero un par de calsas; – I want to buy you something, wedding, the other one tells of the girl’s ensuing misfortune. – Pachá blanca no mete calsa, my dear wife, 60 61 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 62

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Pie tuerto no mete shueco. I want to buy you a pair of socks; Volume 5, Op. 22 (Spain 1492 – Smyrna 1937) – ¡Con esto, la mi mujer, – Pale legs need no socks, © Edition Orientale de Musique, Alexandria (Egypt) 1938 Echémos el tiempo en el bever! Crooked feet do not need clogs. – In that case, my wife, let us spend XXV. De las altas mares From the high seas a captive – Mercar vos quiero, la mi mujer, this time together with a good drink! traen una cautiva is brought Mercar vos quiero un par de bragas; – Las bragas me se hazen llagas, – I want to buy you something, De las altas mares – traen una cautiva. From the high seas a captive is brought Pachá blanca no mete calsa, my dear wife, Cuvierta en el oro – y en la perla fina, dressed in gold and fine pearls, Pie tuerto no mete shueco. I want to buy you a pair of underwear; Y en la su frente – una piedra zafira and on her forehead a stone of sapphire, – ¡Con esto, la mi mujer, – Underwear gives me sores, Más arelumbra de noche – que el sol de shining brighter in the night than Echémos el tiempo en el bever! Pale legs need no socks, medio día. the sun at midday. Crooked feet do not need clogs. El rey era mancevo – se enamoraría. The king is young and he may fall in love. – Mercar vos quiero, la mi mujer, – In that case, my wife, let us spend La reina era muchacha – (y) se encelaría. The queen, being just a girl, Mercar vos quiero una camisa; this time together with a good drink! burns with jealousy. – La camisa a mi me stringe Las bragas me se hazen llagas, – I want to buy you something, Sephardic version of the Spanish romance „Don Bueso y su hermana” (Don Bueso and Pachá blanca no mete calsa, my dear wife, his sister), telling of a noble maid taken captive by the Moors and then freed and brought Pie tuerto no mete shueco. I want to buy you a blouse; back home by a knight who turns out to be her brother. – ¡Con esto, la mi mujer, – The blouse is too tight, Echémos el tiempo en el bever! Underwear gives me sores, Pale legs need no socks, XXVI. Una matica de ruda A Sprig of Rue Crooked feet do not need clogs. – In that case, my wife, let us spend Una matica de ruda, A sprig of rue, this time together with a good drink! Una matica de flor. a flowering sprig. ¿Hija mía, mi querida, My beloved daughter, One of the rare drinking songs in the Ladino tradition, a dialogue between husband and Dime a mi quen te la dió? tell me who has given that to you? wife in a form of six cumulative stanzas. Hemsi used only four of them in this piece. 62 63 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 64

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Una matica de ruda, A sprig of rue, XXVIII. Avrid, mi galanica Open, My Darling! Una matica de flor. a flowering sprig. (Canción de noches de ajuar) (Trousseau nights song) Me la dió un mancevico It was given to me by a young man Que de mi se enamoró. who has fallen in love with me. – Avrid, mi galanica Open, my darling, Que ya va (a) manecer. dawn is coming! This dialogue of mother and daughter is a Sephardic version of an old Spanish erotic – Avrir ya vos avro, I cannot open to you, romance called „Romance de la Guirnalda” (Romance of the Garland). At the end the Mi lindo amor; my handsome love, daughter answers: „A bad husband brings only curse and pain. The young man is sweet La noche no durmo At night I do not sleep as the lemon and the apple.” Pensando en vos. for I am thinking of you

– Mi padre está meldando My father is reading, XXVII. ¿De qué llóras, Why do you cry, my fair girl? Mos sentira la boz. he will hear us. blanca niña? – Apagalde la luzezica Put out the light Why do you cry, my fair girl? Por ver si se echará. and he will fall asleep. ¿De qué lloras blanca niña? Why do you cry, you fair bright flower? – ¿de qué lloras, blanca flor? I weep for you, my knight, – Mi madre está cuziendo My mother is sewing, Llóro por vos cavellero, for you are going away and Mos sentirá la boz. she will hear us. – que vos váx y me dexáx. are leaving me behind. – Pedrelde la algujica Hide the needle Me dexáx linda y muchacha You leave me behind still pretty Por ver si se echará. and she will fall asleep. – chicha de poca edad. and young, a girl of young age. Me dexáx hijos chiquitos I have little children who weep This Spanish aubade, a morning love song, was used by the Sephardi Jews as a – Iloran y demandan pan and ask for bread. wedding song for al-musáma – the night between Saturday and Sunday preceding the wedding in which the dowry was displayed (cf. Copla No. XX).

The text combines two complementary ballads: A knight leaves his wife and is cursed by

his mother, but the curse doesn’t work and after a while he returns home.

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XXIX. Cien donzellas van a la misa A hundred maidens This romance, which speaks of a woman entering the church during mass, is one of the go to mass to pray oldest in Hemsi's collection. Everyone is amazed at her beauty and even the priest is Cien donzellas van a la misa confused in his prayer. In the end it is the musician who wins her heart: „He gave her his – para hazer la oración; A hundred maidens go to mass to recite hand, she took his and they left together”. Entre medias está mi dama the prayer; – telas de mi coraҫón. Among them is my lady, XXX. Abaxéx abaxo, galanica Come down, descend, ¡Mas ay del amor! the cord of my heart. gentil my gentle dearest And greater grows my love! Sayo lleva sovre sayo – Abaxex abáxo, galanica gentil. – Come down, descend, – y un jubón de clavedón; She wears a shawl and a jacket of lace; Disidme si estáx sola, vos iré a servir. my gentle dearest. Camisa viste de Holanda her blouse is from Holland, embroidered – No puedo mi novio, Tell me if you are alone – sirma y perla al caveҫón. with pearls and silver thread. que me estó peinando. so I may attend you. ¡Mas ay del amor! And greater grows my love! ¡Peine de marfil, cavellos de bril! – No, I cannot, my beloved, because I – Mandadme al muchacho comb my hair. With ivory, Su caveҫa una toronja Her head is like grapefruit, her hair is que me venga avrir. I am combing my hair! – sus cavellos briles son; bright; – Call the servant to come open the door. La su frente reluziente her forehead, radiant, La pava, la pava, por aquel monte. – arelumbra más que el sol. shines more than the sun. El pavón es roxo, bien le responde. The peahen calls from the mountaintop. ¡Mas ay del amor! And greater grows my love! Se toman mano con mano, The red peacock answers. ya se van a pasear, Hand in hand they stroll in the Debaxo de un rosal vedre solombra shade of the roses and grapefruit trees. In a version from Saloniki, the first verse Starts with Tres damas van a la misa [Three de toronjal. All that we have shall be blessed ladies go to mass], in another from Istanbul the three ladies became Diez doncellas Todo mos séa el buen simán, with good signs. [Ten maidens] while in the version from Izmir we reach up to Cien doncellas [Hundred Dió mos cumpla la alegría. The Lord shall complete our joy maidens], by virtue of the hyperbole characteristic to Oriental poetry. […] Functionally, Alegrarme yo con vos, And I will be happier and this romance is a passionate love song sung on diverse occasions, particularly in the days Más alegrarme yo con vos. happier with you preceding the marriage of a friend, neighbour or relative. (A.H.) and you with me. 66 67 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 68

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Of the eight stanzas that make up this wedding song, Hemsi used only the first stanza XXXII. Bueno asi biva la coshuegra A good life to the mother-in-law + and the refrain. The text of the refrain about the peacock couple is already documented (Canción bailada de boda) (Wedding dancing song) in the early 17th century. – Bueno asi biva la coshuegra. – A good life to [my son’s] mother in law. Volume 6, Op. 34 (Spain 1492 – Smyrna and Anatolia 1920) ¿Que es lo le dió a su hija? What did you give your daughter? © Alberto Hemsi, Aubervilliers (France) 1969 Nada no le dió a su hija. Nothing! She gave her daughter nothing!

XXXI. Malaña tripa de madre Cursed is the mother’s womb – Bueno asi biva la coshuegra. – A good life to [my daughter’s]

Ya le di yerdan (collar) de perlas mother in law. ¡Malaña tripa de madre Cursed is the mother’s womb Que se pase con la shuegra. I already gave her a string of pearls – que tanta hija parió! which gave birth to many daughters! so she will love her mother in law. Parió siete hijas hembras Seven daughters have been born, Bueno asi biva la coshuegra. – sin dingun hijo varon. without a single son. Ya le di manillas de óro A good life to [my daughter’s] Saltó la mas chica de ellas Jumps up the youngest daughter Que se pase con el novio. mother in law. la que en buen dia nació: who was born on a good day: I already gave her golden bracelets – No mos maldigáx mi padre – No more curses, father, so she will love the bridegroom. – no mos maldiga, siñor. do not curse, sir,

Si es por la suya guerra If you speak of war, This joyful wedding song is titled „El regateo de las consuegras“ (Das Feilschen der – la guerra la venҫo yo. I will fight your war. Schwiegermütter) and tells of the rich dowry the bride’s mother gave to her dauther. In the Déme armas y caballos Give me arms, eyes of the groom’s mother, however, all this is nothing, because she gave her daughter- – y un vestido de varón. a horse and men’s garments. in-law the most valuable thing: „a young man without a beard and without a mustache”. Yo venceré la guerra I will win the war better than a son. – mijor de un hijo varón. XXXIII. Tres hermanicas eran Three sisters they were The old ballad „La donzella guerrara” (The warrior maiden) tells of a girl who goes to war disguised as a man. She does wonders and wins the battle. Finally, the king’s son Tres hermanicas eran – tres hermanicas son. Three sisters they were, three sisters they are. falls in love with her and she reveals her true identity. According to Hemsi this romance Las dos estan casadas – ¡EI amor! – Two are married – oh love! – was used as a lullaby. La chica en perdición. but the youngest went astray. 68 69 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 70

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El padre con vergüensa Her father, in shame, sent her to Rhodes. Morenica y graciosica sos, Dark and graceful you are, – a Rodes le mandó. In the middle of the road – oh love! Morenica y galanica, dark and charming, En medio del camino – he built a castle. Blanca niña sos. you are a pure girl. – ¡El amor! – castillo le fraguó, With fine mosaics and marble t De piedra minudica iles he surrounded her, Dizilde a la morena – si quere venir, Say this to the dark girl – – y laja alderedor (alrededor), without a door or windows – oh love! La nave está en vela – que ya va partir. if she wants to come with us, Sin puerta y sin ventanas – so that no man could enter. Morenica y graciosica sos, the ship is sailing – – ¡EI amor! – Que non suba varón. Morenica y galanica, it is ready to depart. Blanca niña sos. Dark and graceful you are… etc. This is the beginning of the ballad „Hero y Leandro”, which Hemsi collected in 1921 in his hometown Cassaba. The ballad is based on the ancient Greek poem of the same na- „La Morenica” is one of the most popular Sephardic songs. It is obviously inspired by the me about two lovers: the priestess Hero, who lived in a tower on the banks of Hellespont, „dark girl” (sh’charchoret) from the Biblical „Song of Songs”. The song derives from a and Leander, a young man, who fell in love with her and would swim ever Spanish renaissance folksong about a Moorish girl which was recorded in the 17th y night across the Hellespont to see her. Since the Renaissance period this subject became century and included in the comedy „Servir a Señor Discreto” by Lope de Vega. Both end extremely popular in different European cultures and is known in countless variations. with the same lines: Morena a mi me llaman los marineros; Si otra vez me llaman, me voy yo con ellos. In Spanish folklore, being white is associated with purity, while XXXIV. La Morenica The Dark One „darkness” is linked with the spice of life.

Morenica a mi me They call me the dark one – I was born XXXV. ¡Ay! mancebo Oh, young man – llaman yo blanca nací, fair skinned, El sol del enverano – a mi me hizo ansí. the summer sun has made me like this. – ¡Ay mancebo, ay mancebo – Oh young man, young man, Morenica y graciosica sos, Dark and graceful you are, – ay mancebo tan gentil! kind young man! Morenica y galanica, dark and charming, Si para Francia vos ibax If you are going to France, Blanca niña sos. you are a pure girl. – al mi amor saludaréx. greet my beloved for me.

Morenica a mi me llaman – los marineros, Dark One, the sailors call me, – ¿Que señal me dábax dama – What sign will you give me, dear lady, Si otra vez me llaman – me vo con ellos. if they beckon me again, I'll go with them. – que lo quero conocer? so I will recognize him? 70 71 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 72

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– El es alto como el pino – He is tall like a pine, ¿El buen viar, el buen viar, The good grain, the good grain, – derecho como el fener (farol). straight like a beam of light. Como se arrega el buen viar? How does one water the good grain? El benea (subir) caballo blanco He rides a white horse – de los que benea el rey. like the one ridden by the king. Ansi se arrega el buen viar, Like this you water the good grain, En su mano la derecha In his right hand, Ansi se ensembra el buen viar, Like this you sow the good grain, – una lansa lleva él. he holds a lance. Ansi se méte el pié en la már, Like this you dip your foot in the sea, Ansi si dá la bueltizica. Like this you turn your foot around. Very old romance from an undetermined Hispanic period, also reminiscent of France. Collected in Izmir in 1921, it was known in other towns of Anatolia where it would be ¿El buen viar, el buen viar, The good grain the good grain, sung as a love song at engagement parties. Its melody in G minor presents a 7/8 rhythm Como crece el buen viar? How does the good grain grow? (aksak) and its meter is quite rare in Sephardi romances, although other examples are ex- tant. Very probably it is not of Turkish origin for analogous meters are also found in popu- Ansina crece el buen viar, Like this grows the good grain, lar Spanish dances, such as the Basque zorzico. (A.H.) Ansi se arrega el buen viar, Like this you water the good grain, Ansi se ensembra el buen viar, Like this you sow the good grain, The „young man” in this ballad finally turns out to be the returning husband, who reveals Ansi se méte el pié en la már, Like this you dip your foot in the sea, his identity after making sure of his wife’s faithfulness. Ansi si dá la bueltizica. Like this you turn your foot around.

XXXVI. El buen viar The good grain The young women of old times amused themselves by singing, dancing and clapping (Canción bailada) (Dancing song) hands in the refrain […]. (A.H.)

¿El buen viar, el buen viar, The good grain, the good grain, This is the beginning of a long cumulative dance song celebrating the making of bread. Como se ensembra el buen viar? How does one sow the good grain? The grain is sown, watered, grown, shortened, harvested, sifted, grinded, rolled out, kneaded and finally baked. The refrain ends every time with putting your foot into the Ansi se ensembra el buen viar, Like this you sow the good grain, water and turning it around – most likely the „instructions” for the folk dance to go Ansi se méte el pié en la már, Like this you dip your foot in the sea, with this song. Ansi si dá la bueltizica. Like this you turn your foot around. 72 73 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 74

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Volume 7, Op. 41 (Spain 1492 – Smyrna and Anatolia 1920) XXXIX. Cuando la comadre When the midwife © Alberto Hemsi, Aubervilliers (France) 1970 (Nacimiento de un niño) (Birth of a child)

XXXVII. Alevantéx vos toronja Wake up, my grapefruit Cuando la comadre dize: dale, dale. When the midwife says: Push! Push! Dize la parida: ¡Ah, Dió, escapadme! Says the woman in labour: – Alevantéx vos toronja – Wake up, my grapefruit, Dize la su gente: ¡Amén, amén! Ah, Lord! Deliver me and save me! – del vuestro dulce holgar. from your sweet sleep. And her people say: Amen! Amen! Amen! Si sentíax como canta If only you could hear how she sings, ¡Oh, que mueve mezes Oh, for nine months I suffered! – la serena de la már. the siren of the sea. – trabí de estrechura! Mos nació un hijo Now I give birth to a baby boy – La serena non canta – ‘Tis not the siren who sings, – de cara de luna. with the face like the moon. – ni cantó ni cantará, nor will she sing or has sung before, Ya es el buen simán (signo, sintoma) Already, a good sign for Sino que es un mancebico but it is a young man who is coming – de ésta criatura. this creature. – que a mi viene a buxcar. to me asking for my hand. In the second strophe of this song which is titled „El parte feliz” (The happy childbirth) the This song is based on an old ballad about two lovers (The Romance of Count Olinos), father of the baby and his guests arrive bringing presents for the mother. whose love is destroyed by the girl’s mother, an evil queen, and who both die. Love still triumphs over death: through miraculous metamorphoses, they are united in death. XL. Reina de la gracia La Queen of Grace

XXXVIII. Al ruido de una fuente At the bank of a spring Reina de la gracia Queen of Grace, AI ruido de una fuente – una zágala ví, At the bank of a spring, a shepherdess stood. – madre de la bivez (viveza). Mother of Life. Al ruido de la agua – una boz yo sentí. At the bank of a spring, I heard a voice. ¿Onde que te tope Wherever will I find you to see you again? Sentí una boz que dizia – ¡Ay de mi! ¡Ay I heard a voice which said: Woe is me! – por verte otra vez? I am going to die if de mi, sola en mi! ¡Ay de mi, sobre mi! Lonely me! Poor me! ¡Voy morir! ¡Voy morir! I don't see you again! – si tu más no te ves! In Hemsi’s collection this love song is titled „La seducida en la fuente” (The seductress at the fountain). The girl’s suffering at the fountain is alleviated by the man’s kisses: „As she This love song was first published in the poetry collection of Nessim Yehuda Pardo in parted from me she hugged me warmly and sighing said to me ‘do not forget me’”. Smyrna in 1880. The melody is attributed to the violinist and composer Hayyim Alazraki 74 75 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 76

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(died in 1913), also from Smyrna. The song clearly shows the influence of the Turkish XLII. Dia de alhad Sunday makam on the Jewish Ladino song from the late Ottoman period. These songs were inten- ded for public performance by professional singers in bars and coffee shops in Jewish Dia de alhad (Domingo) torno y vijito Sunday, I go to make my visits quarters in the Ottoman cities. At the beginning of the 20th century, „La Queen of Grace” Marido así biváx vos. My husband, may you live so. was one of the most popular songs in this genre, which differs in many ways from ¿Y cuando queréx que labre But when do you want me to work on my traditional Judeo-Spanish folk songs. Este lindo bastidor? beautiful embroidery? Marido así bivax vos. Maridico así bivax vos. My husband, may you live so. XLI. Vamos para la urilla Let’s go to the shore Dia de lunes paso colada, Monday, I do the laundry Vamos para la urilla Let’s go to the shore Marido así biváx vos. My husband, may you live so. – la urilla de la már, – to the seashore. ¿Y cuando queréx que labre But when do you want me to work on my Alli te contaré mis males There I shall tell you of my troubles Este lindo bastidor? beautiful embroidery? – que te metas a Ilorar. that will cause you to cry. Marido así bivax vos. My husband, may you live so. One summer day I walked through Maridico así bivax vos. Un dia del enverano the field, – por tu campo yo passí, and your sister, the snake, La culebra de tu hermana came out to curse me! Hemsi composed only the first two stanzas of the folk song „Los trabajos de la semana” – me salió a maldizir. (The works of the week), which describes a Jewish woman’s everyday life. A stanza is dedicated to each day of the week: on Tuesday she cooks and dries her clothes, on The full text of this love song is a combination of several popular Sephardi songs from the Wednesday she stretches and irons and so on until the last day, the Shabbat, the day of late Ottoman period, among them „El consuelo de la mar” (The comfort of the sea) and rest. Dia de alhad for Sunday comes from the Arabic yawm al-ahad (literally: day one). „La hermana maldiciente” (The cursing sister).

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Volume 8, Op. 44 (Spain 1492 – Smyrna and Anatolia 1920) XLIV. Durmite mi alma Sleep, my soul © Alberto Hemsi, Aubervilliers (France) 1972 (Canción de cuna) (Lullaby)

XLIII. Dolores tiene la reina The queen is in labor pains ¡Durmite mi alma – durmite mi vista! Sleep, my soul – sleep, light of my eyes! Que tu padre viene For your father is back – from a visit to his Dolores tiene la reina The queen is in labor pains – de ande mueva amiga. ¡Muevo amor! new girlfriend. New love! – no los puede somportarlos. – she can no longer tolerate it. Quen estuviera pariendo Oh to be by her family Me fuí detras de él – por ver ande íba, I walked behind him – – en el saray de su padre, – at her father’s palace, Vide que se íba to see where he is going, Quen tuviera por vizina Oh to be close to the queen, her mother. – ande la mueva amiga. ¡Muevo amor! I saw that he went – – a la reina la su madre. Saltó la shuegra Her mother in law jumped up and spoke to the new girlfriend. New love! y le dixo – como palabras de madre; in a motherly fashion; Entrí mas alientro – Va en buenhora, la mi elmuera – Go with blessings, my daughter in law – por ver lo que había, I entered a bit further – – a parir ande tu padre, – to give birth at your father’s, Vide mezas puestas to see what was there, Si és por el tu marido And as for your husband – con ricas comidas. ¡Muevo amor! I saw tables spread out – – yo le daré a cenare. – I will prepare his food. with tasty foods on it. New love! Entrí mas alientro Up until the end of the nineteenth Century, this nostalgic romance in G minor was – por ver mas que había, I entered a bit further – chanted in Izmir during the night called cuzina or „kitchen”. On this night the young bride Oí que le dizía: to see what was there, had to prepare, all by herself and for the first time, a festive meal in order to demonstrate – ¡”Mi alma y mi vista”! ¡Muevo amor! I heard him say to her: „My soul and the her skills in the culinary art. (A.H.) light of my eyes!” New love!

Hemsi composed the first verses of the romance „La mala suegra” (The bad mother-in-law) Lullabies are not numerous in the repertoire of Sephardi songs since the mothers preferred about a queen who is about to give birth in absence of her husband, the king. Her to sing romances to their babies. I believe the choice of these songs was dictated by their mother-in-law sends her to her parents’ castle and calumniates her in front of the king musical quality rather than any interest in the words or subject. This lullaby […] is a very when he arrives. He resolves to kill his wife with own hands but changes his mind when old romance of Hispanic origin which was given to me in 1921 and 1933 in five ver- he finds out the truth. sions. As for the melody, one would have said that it emulates the rocking of an old 78 79 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 80

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country cradle, made of wood, swaying from one side to the other in a ternary movement XLVI. Me parto y me vo‘ I am leaving of long and short breaths, establishing the melody in the ambitus of an octave. (A.H.) Me parto y me vo’ I am leaving, departure is near This ballad is entitled „La mujer engañada” (The deceived woman). At the end the aqui déxo ei mi tino: Here remain my thoughts: adulterous husband knocks at the door late at night but his wife doesn’t let him in. rogar quero al Dió I pray to god que me llevex en tino. That you too may keep me in your thoughts.

XLV. Sentada en mi ventana I sat at my window Quedad, quedavos en bon’hora, You who stay, fare thee well, que ya me vo’; As I take leave; Sentada en mi ventana I sat at my window, que afuerte me parece How strongly I feel nel xaynixir (balkon enrejado) rimada, I stayed in my enclosed balcony, esta despartición. This parting. oí la boz de un páxaro I heard the voice of a bird me hizo tresalir. Which enchanted me. Y aún que vos vax And even though you leave us sola por un camino, Alone for your journey, Corrí presto Ilorando I hurried quickly in tears, rogar quero al Dió I pray to god al páxaro llamarlo, I called out to the bird que me llevéx en tino. That you too may keep me in your thoughts. me dexó reclamando But he left me begging, non tuvo piadad. He had no mercy on me. Quedad, quedavos en bon’hora, You who stay, fare thee well, que ya me vo’;… etc. As I take leave;… etc. Mancebo de dulsura, Young sweet man, rico en hermozura, Rich in charm, This farewell song (canción de despedida) „El camino solitario“ (The lonely road) also asentate al mi lado, Sit by my side, comes from more recent times. oiré la tu boz. And let me listen to your voice.

This love song dates from the late Ottoman period: „If people only knew how much love we had between us, they would allow us to enjoy it and savor it”. Hemsi learnt it from his mother; in his collection it is titled „El pájaro del amor” (The bird of love). 80 81 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 82

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XLVII. ¿Hombre, en qué te lo Man, what are you so happy XLVIII. Un cabretico A little goat contienes? (Endecha) about? (Dirge) (Canción de noche de Pascua) (Passover night song)

¿Hombre, en que te lo contienes? Man, what are you so happy about? * Canción que cant’abase la primera * This song is sung during the first ¿Que tanto sobrevio (soberbio) tienes? That you have become so pompous? noche de Pascua en su texto aramáico, Passover night with its Aramaic text Pára mientes de ande vienes, Notice where you came from, de „Had gadia” y la segunda noche en su „Chad gadia” and during the second que tu fin polvo y tierra. For your end will be dust and earth. texto ladino (A.H.) night with its Ladino text. (A.H.)

Escucha y mete tino, Listen and pay attention, Un cabretico y un cabretico A little goat, a little goat burracho sin bever vino, You who behave like a drunk que lo mercó mi padre That my father bought no te piedras del camino without drinking wine, por dos levanim (monedas de plata). For two zuzim (ancient Jewish silver coin). ni carrera de la tierra. Do not lose your path Nor the way of the earth. Y vino el gato And then came the cat No corras por demazías y comió al cabretico And ate the little goat patrañias y fantazías, Do not run after abundance que lo mercó mi padre That my father bought todo es muezes vazías Folly and fantasies, por dos levanim. For two zuzim. los vicios de esta tierra. Everything is equal to an empty nut These pleasures of this earth. Y vino el perro And then came the dog y modrió al gato, And bit the cat The text of this dirge which is titled „Los extremos de la vida” (The ends of life) was pub- que se comió al cabretico That ate the little goat lished in 1879 in a collection of spiritual poems in Ladino in Hebrew letters „Ketubat que lo mercó mi padre That my father bought ha-Torah” in Smyrna. With its fatalistic philosophical attitude and admonitory words, it is por dos levanim. For two zuzim. obviously inspired by the biblical book Ecclesiastes. Each stanza ends with the word tierra (soil, land). The final stanza deals with the hope of the return of the Jewish people Y vino lavara And then came the stick to their Land and the resumption of worship in the Jerusalem temple. Hemsi composed y aharvó (golpear) al perro And hit the dog only three stanzas out of twenty ones. que modrió al gato, That bit the cat que se comió al cabretico That ate the little goat 82 83 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 84

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que lo mercó mi padre That my father bought Volume 9, Op. 45 (Spain 1492 – Istanbul 1933) por dos levanim. For two zuzim. © Alberto Hemsi, Aubervilliers (France) 1972

Y vino el fuego And then came the fire XLIX. De enfrente la vide venir From afar I saw her coming y quemó a la vara And burned the stick que aharvó al perro That hit the dog De enfrente la vide venir From afar I saw her coming que modrió al gato That bit the cat – como un grano de agranada. – like a seed of pomegranate. que se comió al cabretic That ate the little goat Le preguntí y yo le dixe: I asked her and spoke this: que lo mercó mi padre That my father bought – ¿Moza érex o cazada? – are you unwed or married? por dos levanim. For two zuzim. – ¡Cazada y non cazada, – Married and non married, – cazada por mis pecados! – married to my sins! This is a Ladino version of the Aramaic-Hebrew song „Chad Gadya” (A little goat), which is sung at the end of the Passover ritual celebration (seder) in the first and second evening This melody is an old and unpublished song from the tradition of Istanbul, collected in of Passover. Like the other famous Passover song „Echad mi yodea” (see Copla No. LX) it 1937 in Alexandria (Egypt) […]. The notes with fermata are of rather long duration and is constructed as a playful cumulative song. The central idea of this song, which is are sustained at the will of the singer. For this reason, the romances – in free rhythm all – expressed finally in the last stanza, is the omnipotence of God. Hemsi composed only the undergo more or less perceptible variations in duration. Needless to say, the values first 5 stanzas out of a total of 10 stanzas. between the other notes do not preserve their proportions. (A.H.) This old romance that is titled „La gallarda matadora” (The killer lady) tells a story of an enigmatic woman who attracts and kills one man after the other. However, the knight in the song manages to see through the murderess’ plan so that he ends up killing her himself.

L. Mi padre era de Francia My father is from France

Mi padre era de Francia – y mi madre de My father is from France – Aragón, Que se cazaron juntos and my mother from Aragon. – para que naciera yo. They married each other – 84 85 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 86

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Me cazaron a un mancebo and so I was born. El buxcó de hazer su nido And asked to build his nest – hijo de un gran siñor. They married me to a young man – En telas mi coraҫón. In the seams of my heart. ¡Que ventura fué esta mia a son of a great nobleman. – que en esto vine yo! What fate have I – A love song about unfulfilled love: „You have married, my beloved? Send me candies so that has brought me to this! that I will eat them with bitterness, for my beloved is married”. El come la carne godra – y los güecisicos (hueso) yo, He eats fatty meat – and I eat the bones, LII. Torondón Torondón El come el pexcadico – y las espinicas yo, He eats a fish – and I eat the cartilage, El come la franzelica (pan redondo) He eats baguet – and I eat the crumbs. – Abrijme la blanca niña, – Open up oh pure girl, – y los mendruguitos yo. What fate have I – abrijme la blanca flor. Torondón. open up for me oh white flower. Torondón. ¡Que ventura fué esta mia that has brought me to this! – No vos abro, el caballero, – I will not open, oh cavaliere, for I fear – que en esto vine yo! que me espanto de mi siñor. Torondón. my husband. Torondón.

The title of the song is „La mal casada” (The unhappily married woman). Due to the – Tu siñor mataron lobos, el habér – Your husband was killed by wolves, arranged marriages (see Hemsi’s note on Copla No. XXII), this topic is often found in the (noticia, albricia) lo truxe yo. Torondón. I was sent to give you the news. Torondón. Sephardic folklore. Si no te creyes, donzella, el chapeo If you do not believe, my lady, (sombrero) llevo yo. Torondón. here I have his hat. Torondón.

LI. ¿Quen es este paxarico? Who is this bird? Estas palabras oyendo, abaxó y le abrió. As she heard these words, she came Torondón. downstairs and opened for him. Torondón. ¿Quen es este paxarico Who is this bird Ya lo tomó de la mano, arriba se lo llevó. Already she held his hand and led him in. Que en el mi saray (palacio) entró? That entered my palace? Torondón. Torondón. El buxcó de hazer su nido And asked to build his nest En telas mi coraҫón. In the seams of my heart. En comiendo y en beviendo, eshueño ya While eating and drinking well a dream le venció. Torondón. took over him. Torondón. ¿Quen es este bilbilíco (ruiseñor) Who is this nightingale Arrimó la su cabesa, en la pierna se le He leaned his head down onto her lap Que en el mi saray entró? That entered my palace? durmió. Torondón. and fell asleep. Torondón. 86 87 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 88

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Estas palabras diziendo, As these very words were told, LIII. Mi alma triste My soul is sad el siñor que arrivó. Torondón the master of the house arrived. Torondón. Desvainó la su espada, He drew his sword and beheaded the Mi alma triste, muy doloriosa, My soul is sad, so sorrowful, la cabesa le cortó. Torondón. cavalier. Torondón. nunca reposa, never rests, ¡ah! de mal sufrir. ah! of bitter suffering. The romances of the Turkish period could never have equalled the purity of style or the beauty of expression, even less the freshness, the variety of themes or the deeds of long- Para qué la quero yo ésta vida For what should I want to live this life ago figures, as those of the late medieval or early Renaissance periods. The genre of que es fiñida (heñida, de heñir), which is mixed these romances often veers towards biblical figures or the Jewish holidays. With the ¡ah! con lagrimas. ah! with tears. abrupt switch from the ancient Iberian setting, the Spanish romance could no longer serve as a model. Naturally, the transformation, or even the mutation – of linguistic style above Pedrí uficio, I have lost my job, all – in the creation of the repertoire of romances and cantigas, could only have commen- bienes y vicios, Good and pleasurable, ced towards the late sixteenth or early seventeenth Century, when organized Community ¡ah! No te alcancí. ah! you are out of my reach. life began to be established and its foundations more or less stabilized. This might have facilitated, on the one hand, a jealous preservation of the ancient repertoire and, on the Para qué la quero yo ésta vida For what should I want to live this life other, the creation ex-nuovo of lyric and songs based on pre-existing models. que es fiñida, which is mixed This romance dates from this period and is one of the rare pieces with an onomatopoetic ¡ah! con lagrimas. ah! with tears. refrain, unless the word „Torondon” has a meaning which escapes us. In contrast to the old romances of the Hispanic period, its melody is neatly measured on 2/4 and it The number of laments given me to collect are not numerous, for strange as it might be, undoubtedly belongs to the Turkish period and Turkish aesthetics. Established on the the women who knew them were not minded to grant the interview necessary for ambitus of a major ninth, its tonality ends with a descending tetrachord of the Hedjaz dictating the texts of this genre. Not once did I have to postpone to some later date a mode. This song was collected in 1933 and originates in Istanbul. (A.H.) meeting fixed by common consent and that, for one reason or other or for no reason at all, was always put off to some unspecified date. Finally I discovered the reason for these Like Coplas Nos. XVII, XXVIII, XXX or XXXIII, this song belongs to the genre of the so- continual and apparently incomprehensible postponements. The old women, my inter- called „night visiting songs“. locutors, never dictated the texts of the laments – and most certainly not at home – because: „mos estremecemos”, (i.e. „we are shivering, we are shaking”), accompanied by gestures that left no doubt as to the firmness of their refusal. It was necessary, there- 88 89 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 90

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fore, to find a way to avoid offending their sensibilities or prejudices while also not losing – era desojado. It didn’t have eyes – Onete Bonete – the last occasion that might ever be offered me. Hence, after reaching a new agreement, Un día de los días – Onete Bonete he was blind. and not after having first been refused a meeting in the basement of a friend’s shop, – salió a pasearlo. One of these days – Onete Bonete – we agreed that the lament in question would be written down in the street, far from their Camina que camina – Onete Bonete he went out for a walk. homes. (A.H.) – se cayó al prado. On one road or another – Onete Bonete – Trava que trava – Onete Bonete he fell in the meadow. This song is titled „El alma dolorida” (The aching soul) and belongs to the genre endecha – la pierna en la mano. He was pulled and pulled – (dirge, lament). Ulla que ulla – Onete Bonete Onete Bonete – his leg in his hand. – se quedó ullando. He hollered and hollered – LIV. Onete Bonete Onete Bonete Onete Bonete – he was left there hollering. (Cantiga de pasatiempo) (Pastime song) This funny song is titled „El bonetero de la trapería” (The hatter from the scrap shop). The repeated onomatopoetic expression Onete Bonete ties in with the Spanish word bonete El rey tenía un hijo – Onete Bonete The king had a son – Onete Bonete – (beret, bonnet). – un hijo preciado. a precious son. Oficio no tenia – Onete Bonete He did not have a profession – – se hizo bonetero. Onete Bonete – Volume 10, Op. 51 (Spain 1492 – Middle East 1928) Gana que gana – Onete Bonete so he became a hat maker. © Alberto Hemsi, Aubervilliers (France) 1973 – se mercó un sayo. With his profit plus profit – Ancho le vino, estrecho le vino, le cortó Onete Bonete – he bought a cape. LV. De la juma sale el moro From the mosque comes out the Moor del lado. Luengo le vino, A tad too wide here, curto le vino, le cortó de abaxo. a tad too narrow there, he cut the sides. De la juma (mezquita) sale el moro, From the mosque comes out the Moor, Corta que corta – Onete Bonete Too long here, too short here, De la juma a mediodía; Out of the mosque at noon;

– se quedó sin sayo. he cut it from the bottom. Con trescientos caballeros, With three hundred cavalieres, He cut and cut – Onete Bonete – se lleva por compañía. Which he took for company. Un día de los días – Onete Bonete he was left with no cap. – se mercó un caballo. One of these days – No era por compañía, It was not for companionship, Ojos no tenía – Onete Bonete Onete Bonete – he bought a horse. sino por favor que quería; But only for his wish; 90 91 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 92

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Que digan toda la gente: That all people will say: Ansi Ilora el mi coraҫón, So cries my heart, for you, ¡O! que gran caballería! Oh! What a great cavalier he is! por ti, mi linda dama. my pretty lady.

La toca que el moro lleva, The turban which the Moor was wearing, Enfrente de mi hay un angelo, In front of me I saw an angel, labrada a la maravílla. Was marvelously embroidered. cuando pasa, él me mira. as it passed by me, it looked at me. Hablar quero y no puedo, I wanted to speak but could not, ¿Quen se labró esta toca? Who embroidered this turban? mi coraҫón sospira. my heart sighs. Xerifa la su amiga. Sherifa his friend. Hablar quero y no puedo, I wanted to speak but could not, mi coraҫón sospira. my heart sighs.

A Moorish romance in text as in melody, known in Rhodes where I collected three musical Ven verás y ven verás y ven veremos Come and see, come and see, versions between 1934 and 1939. Containing slight literary variations, this song is a y ven verás y veremos, come and let us see each other, brief love poem sung in pastime reunions of young ladies, without any particular aim. Amor que tenemos los dos, The love that we have for each other, (A.H.) ven nos aunaremos. come and let us unite.

Amor que tenemos los dos, The love which we have for each other, This folk song is known as „El moro de Antequera“ (The Moor of Antequera), apparently ven nos ajuntaremos. come and let us bond. as a reference to the famous Spanish song from the early 16th century „De Antequera sale el moro“ (The Moor comes from Antequera) by Cristóbal de Morales, and thus refers A popular love song from the late Ottoman period. to the city of Antequera in Andalusia. However, the original text also speaks of the „highest towers in Turkey“ on which Sherifa stands (Xerifa está en altas torres, las más LVII. La cantiga de la Ley The Song of the Law altas de Turquía). (Canzonetta) (Canzonetta)

LVI. Arboles lloran por luvia The trees cry for rain * Torá o Ley: Los cinco rollos sacros de la * Torah or Law: The five sacred scrolls of ley de Moxé. (A.H.) Moses’ Law. (A.H.) Arboles lloran por luvia y muntañas por aire, The trees cry for rain and the mountains Ansi lloran los mis ojos, por ti, for wind, Allí en el midbar (desierto) There in the desert I saw glowing, querido amante. So cry my eyes, for you, my dear beloved. vide arelumbrar, The tablets of the 92 93 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 94

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Las tablas de la Ley vide abaxar. Ten Commandments descending. LVIII. Munchos mueren de su muerte Many die of their own death Y mirad, y mirad, qué Siñor es And see, and see, how (Endecha) (Dirge) Moxé Rabbénu (Moisés nuestro Señor), Moshe Rabbenu (Moses our teacher), Que subió y abaxó a los altos cielos. Has ascended and descended to and Munchos mueren de su muerte, Many die of their own death, from the high heavens. más munchos mueren de amor. Many more die of love. Los malakhim (ángeles) del cielo lo queren quemar; The angels of heaven wanted Y el que no muere de su muerte, And one who does not die Nacido de mujer, to incinerate him; es con dolor al coraҫón. of his own death, ¿que buxca en santedad? A man born of woman, His heart is filled with pain. Y mirad, y mirad, what does he search for in the qué Siñor es Moxé Rabbénu, sanctity of the heavens? This dramatic lament initially formed the first two verses of a romance, which was a Que subió y abaxó a los altos cielos. And see, and see, version of the song „Yo tomi una muchacha” (cf. Copla No. I) and which Hemsi collected how Moshe Rabenu… etc. in Saloniki in 1932. In this version, the unfortunate wife, who has to work hard due to her Los malakhim del cielo tienen por él celo, husband’s lavishness, turns out to be the daughter of a king. Hemsi dedicated this piece Basar va-dam (carne y sangre) The angels of heaven were taken to the memory of the Grand Rabbi of Paris and a hero of the resistance movement during ¿que buxca en el cielo? by jealousy, the Nazi occupation, Dr. Julien Weill (1873-1950). Y mirad, y mirad, qué Siñor es Flesh and blood, what do you Moxé Rabbénu, search for here in the heavens? Que subió y abaxó a los altos cielos. And see, and see, LIX. Esta noche es alavada This praised night how Moshe Rabenu… etc. (Canción de cuna) (Lullaby)

La cantiga de la Ley, or the apologie of Moses and his Law, was unknown outside of Esta noche es alavada, This praised night, Rhodes, where I collected it in 1924. It would be sung at Pentecost [Shavu'ot] either in the De encender luzes demaziadas. In which we burn countless candles. synagogue or at home, and at Simhat Torah, the last day of the Feast of Tabernacles, La criatura sea guadrada, This baby shall be guarded, during the procession of the Sacred Scrolls. During this festivity other bilingual songs in Con Eliyahu Hannavi (el profeta Elias). By Eliahu the prophet. Hebrew and Ladino would be sung, such as En kelohenu – Non como muestro Dio [There is no one like our God] or Mi-pi el – De boca del Dio [From the mouth of God]. (A.H.) 94 95 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 96

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This lullaby is entitled „La circunsición“ (The circumcision) and is linked to this Jewish Dos Moxé y Aaron, Two are Moses and Aaron, custom. According to traditional believe, the prophet Eliyah (Eliyahu haNavi) is the one Uno es el Criador, One is the Creator, who visits the circumcision ceremony of every Jewish child and testifies that the Jewish ¡Barukh hu barukh xemó! Blessed be he and blessed be his name! people are scrupulous regarding the commandment of circumcision. Eliyahu haNavi is also believed to protect the child during the ceremony so that nothing would go wrong. Quen supiense y entendiense, He who knows and understands, Alavar al Dió merece. is worthy of praising the Lord. LX. Quen supiense y entendiense He who knows and understands ¿Cualos son los cuatro? What is Four? (Canción de noche de Pascua) (Passover night song) – Cuatro madres de Yisrael, – Four mothers of Israel, Tres nuestros padres son, Three are our fathers, Quen supiense y entendiense, He who knows and understands, Dos Moxé y Aaron, Two are Moses and Aaron, Alavar al Dió merece. is worthy of praising the Lord. Uno es el Criador, One is the Creator, ¿Cualos son los unos? What is One? ¡Barukh hu barukh xemó! Blessed be he and blessed be his name! – Uno es el Criador, – One is the Creator, ¡Barukh hu barukh xemó! Blessed be he and blessed be his name! Quen supiense y entendiense, He who knows and understands, (bendico Él, bendicho Su nombre) Alavar al Dió merece. is worthy of praising the Lord. ¿Cualos son los cinco? What is Five? Quen supiense y entendiense, He who knows and understands, – Cinco livros de la Ley, – Five books of the Torah, Alavar al Dió merece. is worthy of praising the Lord. Cuatro madres de Yisrael, Four mothers of Israel, ¿Cualos son los dos? What is Two? Tres nuestros padres son, Three are our fathers, – Dos Moxé y Aaron, – Two are Moses and Aaron, Dos Moxé y Aaron, Two are Moses and Aaron, Uno es el Criador, One is the Creator, Uno es el Criador, One is the Creator, ¡Barukh hu barukh xemó! Blessed be he and blessed be his name! ¡Barukh hu barukh xemó! Blessed be he and blessed be his name!

Quen supiense y entendiense, He who knows and understands, Quen supiense y entendiense, He who knows and understands, Alavar al Dió merece. is worthy of praising the Lord. Alavar al Dió merece. is worthy of praising the Lord. ¿Cualos son los tres? What is Three? ¿Cualos son son los sex? What is Six? – Tres nuestros padres son, – Three are our fathers, – Sex días de la semana, – Six days of the week, 96 97 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 98

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Cinco livros de la Ley, Five books of the Torah, Five Hebrew Songs, Op. 25 Cuatro madres de Yisrael, Four mothers of Israel © Alberto Hemsi, Alexandria (Egypt) 1948 Tres nuestros padres son, Three are our fathers, Dos Moxé y Aaron, Two are Moses and Aaron, Vedibarti al haneviim When I spoke to the prophets Uno es el Criador, One is the Creator. ¡Barukh hu barukh xemó! Blessed be he and blessed be his name! V’dibarti al hanevi’im, When I spoke to the prophets, V’anohi hazon hirbeti, For I granted many visions, Like „Chad Gadya” (A little goat, cf. Copla No. XLVIII), the Hebrew song „Echad mi U’v’yad hanevi’im adame. And spoke parables through the prophets. yodea” (Who knows One) is a part of the Passover ritual celebration (seder). Both songs (Hosea 12:11) (Hosea 12:11) are meant to be funny and humorous and still teach the attending children important les- Ki lo ya’ase Adonai Elohim davar, Indeed my Lord God does nothing, sons. This cumulative song consists of 13 stanzas which focus on the numbers from one to Ki im gala sodo Without having revealed his purpose thirteen, showing that everything is related to God. Every stanza ends with the Hebrew El avadav hanevi’im. To his servants, the prophets. words „Baruch hu baruch shemo” (Blessed is He, blessed is His name). Hemsi composed Arye sha’ag, mi lo yirah? A lion has roared, who will not fear? only the first five stanzas. Like other Passover songs, „Echad mi yodea” was recited by Adonai Elohim diber, mi lo yenave? My Lord God has spoken, who can but Sephardic Jews during the first night of Passover in its original language and during the (Amos 3:7-8) prophesy? (Amos 3:7-8) second night in the Ladino version. V’asim d’varai b’ficha, And I placed my words in your mouth, U’v’tzel yadi kisitiha, And I sheltered you with my hand, Linto’a shamayim u’lisod aretz, I, who planted the skies and made ve-lisód áretz. (Isaiah 51:16) firm the earth. (Isaiah 51:16)

Beit Ya’akov lehoo v’nelhah O, house of Jacob, come let us walk B’or Adonai (Isaiah 2:5) In the light of God. (Isaiah 2:5)

Yismekhu They shall rejoice

98 Yismechu v’malchutcha Those who keep Shabbat 99 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 100

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shomrei Shabbat v’korei oneg. by calling it a delight Shir hashirim The song of songs Am mekadshei shvi’i, will rejoice in Your realm. kulam yisbe’u veyitangu mituvcha. The people that hallow Shir Hashirim asher l’Shlomo. The song of songs, which is Solomon’s. Uvashevi’i ratzita bo v’kidashto, Shabbat will delight in Your goodness. Yishakeini m’neshikot pihoo Let him kiss me with the kisses of his chemdat yamim oto karata, For, being pleased with the Seventh Day, Ki tovim dodekha m’yayin. mouth, For your love is better than wine. zecher l’maaseh b’reishit. You hallowed it as the most precious of L’re’akh shmanekha tovim, Your oils have a good fragrance, (Sabbath Evening service) days, drawing our attention to the work Shemen turak shmekha, Your name pours forth like oil, of Creation. (Sabbath Evening service) Al ken alamot aheyvukha. Therefore young women love you. Mashkheini akharekha arutza, Pull me and I shall run after you, Yonati O my dove Hevi’ani hamelekh khadarav, The King brought me into his chamber, Nagila v’nismekha bakh We shall be joyful and happy in you, Yonati bechagvei hasela, O, my dove, in the crevice of the rock, Nazkira dodekha meyayin, We are reminded your love is Besseter ha’madregah, Concealed by the mountain’s face, Meisharim aheivukha. more fragrant than wine, Har'ini et-mar'ayich, Show me your countenance, (Shir hashirim, 1:1-4) How sincerely they love you! Hashmi'ini et-kolech: Let me hear your voice; (The song of Solomon, 1:1-4) Ki-kolech arev, For your voice is pleasant, Umar'eich nave. And your countenance charming. (Shir hashirim, 2:14) (The song of Solomon, 2:14)

Im en ani li If I am not for myself

Im en ani li, mi li? If I am not for myself, who is for me? U’ksh’ani l’atzmi, ma ani? And if I’m (only) for myself, what am I? V’im lo akhshav, ei matai? And if not now, when? (Pirke avot 1:14) (Chapters of the Fathers 1:14)

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Alberto Hemsi COPLAS SEFARDIES

Yom gila yavo, yavo! Op. 17 (Esquisse hébraïque) / A day of rejoicing will come! © Edition Orientale de Musique, Alexandria (Egypt) 1934

Yom gila, yom gila, yom gila, yavo yavo! A day of rejoicing will come, will come! Yom gila, yom ditza, yom hedva, yavo A day of pleasure, a day of delight, will yavo! Yavo adir beyameinu, yom gila, come! yavo yavo! Magnificence will come in our lifetime! This photo of a Yavo baruch v’yoshiyeinu, Blessings and deliverance will come! Sephardic family was taken yom gila, yavo yavo! by Alberto Hemsi and published A day of rejoicing will come, will come! in the last, tenth volume of his “Coplas Sefardies”. Yom gila, yom gila, yom gila, yavo yavo! A day of pleasure, Yorn gila, yom ditza, yom hedva, yavo a day of delight, will come! yavo yavo! Yavo hanun v’yoshiyeinu, yom Faultlessness will come in our lifetime! yavo! Yavo gadol beyameinu, yom gila, Greatness will come in our lifetime! gila, yavo yavo! Mercifulness and deliverance will come! yavo yavo! Yavo dagul v’yoshiyeinu, yom Exaltation and deliverance will come!

gila, yavo yavo! Yom gila, yom gila, yom gila, yavo yavo! A day of rejoicing will come, will come! A day of rejoicing will come, will come! Yom gila, yom ditza, yom hedva, yavo A day of pleasure, a day of delight, Yom gila, yom gila, yom gila, yavo yavo! A day of pleasure, yavo! will come! Yom gila, yom ditza, yom hedva, yavo a day of delight, will come! yavo! Yavo hadur beyameinu, yom gila, Grandeur will come in our lifetime! Translation: Tehila Nini Goldstein yavo yavo! Yavo vatik v’yoshiyeinu, Ancient times will come and save us! (Coplas Nos. XXI-LX and Hebrew songs), yom gila, yavo yavo! Rivka Havassy (Coplas Nos. I-V and VII-XX), Edwin Seroussi (Copla No. VI) A day of rejoicing will come, will come! Notes: Jascha Nemtsov Yom gila, yom gila, yom gila, yavo yavo! A day of pleasure, Notes by Alberto Hemsi are cited from the publication Alberto Hemsi. Yom gila, yom ditza, yom hedva, yavo a day of delight, Cancionero sephardí (ed. by Edwin Seroussi), yavo! Yavo zakai beyameinu, yom gila, will come! Jerusalem 1995 as well as from the printed editions of Coplas Sefardies 102 103 HC20039.Booklet.AlbertoHemsi.qxp_PH?????_Booklet_Gamben/Handel 27.05.20 19:56 Seite 104

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