כדי לשחזר את השיר בשפה המקורית אם אינו מופיע לאחר לחיצה על שם השיר המסומן כאן בקוו תחתון או כדי למצוא גירסות נוספות העתיקו/הדביקו את שם השיר בשפת המקור מדף זה לאתר YOUTUBE
To restore the song in the original language if it does not appear after clicking on the name of the song marked here with a bottom line or to find additional versions Copy/Paste the song name in the original language from this page to the YOUTUBE website
התרגומים לאנגלית נעשו באמצעות המנוע "מתרגם גוגל" והתרגום הועתק לאתר בצורתו המקורית ללא עריכה נוספת
The English translations were done using the "Google Translate" engine and the translations were copied to the site in their original form without further editing.
Notes written by Izzy Hod: Leah Naor, the Israeli poet who wrote the song, Come Mother, to the tune of Edward Kolmanovsky, said, I wrote the song in 1968. The singer Osnat Paz called me one day and told me that she was going to record a CD of children's songs and asked me to write a song, according to, a Russian tune, which she will sing to me on the phone. I promised her to try. She sang me the tune several times and I was fascinated. The melody sounded to me, like a beautiful lullaby and I wrote, according to the rhythm of the melody, the song Come Mother. It was only years later, when the great immigration from Russia arrived in Israel, that I found out that the author of the melody is, Eduard Kolmanovsky, and that even in the original, the song talks about a mother, but there, as I recently learned, it is about a mother warning her daughter against snow sleds to her fraind just for unnecessary kisses with him. The song Come Mother, is my original Hebrew song. Wherever it is written that it is a translation from Russian, it is a mistake. I don't know Russian. About, Ya'akov Shabtai, the father of the translations for the performance, There went the friends, it was written, at the end of 1969, the musical evening, There went the friends, which included Russian songs in Hebrew translation, was staged on the stages of our country with great success [about 500 performances!]. These were not the Russian songs from the days of the Second World War, to which the fans of the Russian singer were accustomed, until then. There were no Cossacks on horses and no brave soldiers, fighting the enemy. The show's songs, including ballads and delicate love songs, presented a seemingly different Soviet world, where creators struggle for their freedom of expression, even if it does not match the Party line. Indeed, the producers of the show presented the songs, as written underground and directed against the worsening of cultural life, which was evident in the Soviet Union, in the era after the overthrow of Khrushchev [1964]. As far as is known, the person who brought these songs to Israel was the singer, Nechama Lifshitz, who immigrated to Israel the twisted way, in March 1969. The underground atmosphere that surrounded Lifshitz's immigration, the lack of information about what was really happening in the Soviet Union, and perhaps also some marketing gimmick, were probably the reason, to present the show's songs as protest songs. This was also the reason why the names of all the authors and composers were not printed on the back cover of the record created from the show. Instead, the producers of the show wrote, folk, or, none, for the name of the poets and composers. This secrecy was excessive, to say the least, because the authors and composers of most of the show's songs were well known in the Soviet Union and there was no need to hide them. Not only that, many of the songs, were not protest songs at all, but completely ordinary romantic songs. Some of the show's songs were composed at least twenty years earlier. My country, my country, composed in 1939 and originally dedicated to the Soviet pilots, The Apple Tree, composed in 1944 and songs such as, A young man wanders, Come the wind, or, in silence, remarkably similar to other songs, from the same period, written in the Soviet Union and not classified as political songs. The Hebrew versions of the show's songs were penned by the late writer and poet Yaakov Shabtai [1934-1981]. Shabtai, as far as I know, did not know Russian and therefore the songs should be seen more as a Hebrew version and less as a translation. [Sabbath pleassure]. Yuri Veniaminovich Garonimus, a mathematician and systems designer, who was born in Moscow in 1923 and moved to Israel in 2004, was the closest friend of the composer, Eduard Savelievich Kolmanovsky. He used to tell two anecdotes about Kolmanovsky. During the elections in Russia, in 1993, Kolmanovsky supported one of the candidates [Yeltsin]. When asked why? Answer, vodka, can be good, or, much better. Governing power, can be bad, or, much worse. Let's vote for the bad, to prevent the much worse from coming to power. Yuri Garonimus also said that, in 2004, right after he came to settle in Israel, he was traveling with his wife in a taxi and suddenly, he heard the driver humming the melody of Kolmanovsky in the song, The sleigh [Light is pale in the window]. Asking him what he is humming? The driver answered, it's an Israeli folk song, about a mother's love. The song, The sleigh, or, Light is pale in the window, was commissioned from the composer, Eduard Savlievich Kolmanovsky, by the Russian radio station, in honor of the New Year of 1964. Then Kolmanovsky turned to the poet, Konstantin Yakovlevich Vanshankin, with whom he shared many musical activities, to write the lyrics and thus was born the song and in the song, a young woman tells about her past in which she used to slide in the snow sled to the neighbor's house as a child where she was caught kissing the neighbor's son and the punishment she received is to carry the sled up the hill by herself, seemingly a children's song, in fact not so. When the poem was written, there was still a lot of snow outside, but Vanshankin saw in his imagination the little light visible through the window, Light is pale in the window, translated by Yosef Harmoni. Only then did Vanshankin described the fresh snow falling slowly and there are other contrasts in the content of the poem, such as, even if I don't ski and sled I will still pull the sleigh up hill. These apparent contradictions, in Russia, raised doubts among the editors and publishers who believe that the content of the song is somewhat ambiguous and certainly does not express joy on such a festive day. The song seems to allude to something improper that happened to the subject of the song, the woman who supposedly narrates the song, so what is this bad thing that happened to her, that she kissed the neighbor's son as a child? And was punished by not helping her carry the sled up the hill? It can't be that it has made her life difficult since her youth. So why is she not discouraged and why is she biting her lip? In Russia, this raised the ire of the censors, who interpreted the song as casting a blemish on the good life in Russia. In the past, such insinuations, every day, would endanger their speakers, certainly on a festive day like the beginning of the New Year. In the present they demanded an explanation. One of the explanations was really silly, but reasonable enough to approve the song by the censors and it is, in the present, the mother, the heroine of the song, just pulled the sled back up the mountain, it is her daughter who was born in the meantime, who is sledding, even if I no longer ski and sled I will pull, Translated Yosef Harmoni. I no longer sin but I am still punished. The imaginative explanations also included such a claim, every woman sees something of herself and in her spirit, in what is happening around her. Vanshankin and Kolmanovsky are the ones who listened to their inner editor when they wrote the poem and the poem was published as their spirit dictated to them. Simply put, the poem can be interpreted in terms of pleasure and price, or even, the sin and its punishment, that is, with the love of Skiing, you will also love pulling the sled up the mountain or vice versa and if you sinned [with a kiss] there is the punishment [towing the heavy sled up the mountain]. Vanshankin, in the simple words he wrote, deepened a thought whose value stood the test of the eternal melody written by Kolmanovsky. For those who want, it's just a song about a sled with longings of one kind or another for the past. Whoever wants, there is plenty to discover, in this song. And so, it is sound in a song, Gray is the evening and pure is the snow falling. Why did you kiss your friend my daughter, my mother asked me? And when I cried, my mother continues and said, pity is the crying, it will not help you. You loved sledding so much, to your friend's house, so you will also love to carry the sledge up the hill home, on your own. The snow continued to fall for many years at our place of residence, so it happened that all my youth passed by hard work in pulling sledges and I myself no longer slide on sledge. But I will continue to bite my lip and be encouraged by the despair, even if I am no longer slide. Some see the content of the poem as remnants of bad memories from, Stalin's reign and immediately afterwards. Punishments, labor camps, hard labor without taste and hope for a better future.
Having received another offer from the All-Union radio to write a song for the New Year, my father turned to Vanshenkin for co-authorship. This is how the song "There is little light outside the window" was born. Obviously K. Ya. Tried to touch the New Year's attributes, but did not force his imagination, in which there was still white snow, but he tuned the poet to a far from festive mood. By the way, this song aroused an absurd, but completely natural objection from propagandizing organizations. The fact is that Vanshenkin's poems are somewhat ambiguous. So in the song "There is not enough light behind the window" there is such a place: Even though I haven't been skating for a long time I only drive sleds. And all sorts of editing were unhappy: not only did the heroine of the song have something wrong in her life - such a sadness was already seditious at that time - it is also impossible to understand what exactly it was about. I don't remember which of the authors and under what circumstances fought off the censorship with a ridiculous explanation: she supposedly gave birth and is now carrying the child on a sled. But in fact, this is the charm of these poems, that almost every woman sees behind them something of her own, special ... But absolutely unheard-of, in my opinion, courage was shown by K. Vanshenkin and E. Kolmanovsky, going towards their own, inner editor.
השיר בעברית בשני קולות
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