Ovnt-lid

Evening Song
אָװנט־ליד

Words by poet Itsik Manger (1901-1989); music by Emanuel Hacken (b. 1909). Published in the composer’s collection Nigunim tsu yidisher muzik, Tel Aviv, 1973. Reprinted with the permission of the composer.

Illustration of musical notes from the books

Lyrics

Quiet evening, dark gold,
I sit with a glass of wine.
What’s become of my day?
A shadow without light.
At least let a drop of this dark gold enter my song for a moment.

Quiet evening, dark gold.
An old, gray Jew prays piously away the dust from the year’s marketplace.
At least let a murmur of this Jew’s prayer enter my song.

Quiet evening, dark gold, wind moves across the world.
My sorrow, once awake, now sleeps like a little bird.
At least let a breath of this sleep enter my song.

Quiet evening, dark gold, a summer bird flies.
With his wings of gray and gold, it flies in forbidden places.
At least let a tremor from its flight enter my song.

Quiet evening, dark gold,
I sit with a glass of wine.
What’s become of my day?
A shadow without light.
At least let a drop of this dark gold enter my song for a moment.

Shtiler ovnt, tunkl-gold
Kh’zits baym glezl vayn.
Vos iz gevorn fun mayn tog?
A shotn on a shayn.
Zol khotsh a rege tunkl-gold
In mayn lid arayn.

Shtiler ovnt, tunkl-gold.
An alter groer yid
Davnt frum avek dem shtoyb
Fun dem yor-yarid.
Zol khotsh a murml fun dem yid
Arayn tsu mir in lid.

Shtiler ovnt, tunkl-gold.
Vint, velt-oys, velt-ayn,
Mayn troyer vos gevezn vakh
Shloft vi a hindl ayn.
Zol khotsh an otem fun dem shlof
In mayn lid arayn.

Shtiler ovnt, tunkl-gold.
A zumer-foygl fllt.
Mit fligl zayne — gro un gold
Avek in “got bahit.”
Zol khotsh a tsiter fun zayn fli
Arayn tsu mir in lid.

Shtiler ovnt, tunkl-gold.
Kh’zits baym glezl vayn.
Vos iz gevorn fun mayn tog?
A shotn on a shayn.
Zol khotsh a rege tunkl-gold
In mayn lid arayn.

שטילער אָװנט, טונקל־גאָלד.
כ’זיץ בײַם גלעזל װײַן.
װאָס איז געװאָרן פֿון מײַן טאָג?
אַ שאָטן אָן אַ שײַן.
זאָל כאָטש אַ רגע טונקל־גאָלד
אין מײַן ליד אַרײַן.

שטילער אָװנט, טונקל־גאָלד.
אַן אַלטער גראָער ייִד
דאַװנט פֿרום אַװעק דעם שטױב
פֿון דעם יאָר־יאַריד.
זאָל כאָטש אַ מורמל פֿון דעם ייִד
אַרײַן צו מיר אין ליד.

שטילער אָװנט, טונקל־גאָלד.
װינט, װעלט־אױס, װעלט־אײַן,
מײַן טרױער װאָס געװעזן װאַך
שלאָפֿט װי אַ הינדל אײַן.
זאָל כאָטש אַן אָטעם פֿון דעם שלאָף
אין מײַן ליד אַרײַן.

שטילער אָװנט, טונקל־גאָלד.
אַ זומער־פֿױגל פֿליט.
מיט פֿליגל זײַנע — גראָ און גאָלד
אַװעק אין „גאָט באַהיט‟.
זאָל כאָטש אַ ציטער פֿון זײַן פֿלי
אַרײַן צו מיר אין ליד.

שטילער אָװנט, טונקל־גאָלד.
כ’זיץ בײַם גלעזל װײַן.
װאָס איז געװאָרן פֿון מײַן טאָג?
אַ שאָטן אָן אַ שײַן.
זאָל כאָטש אַ רגע טונקל־גאָלד
אין מײַן ליד אַרײַן.

Song Title: Ovnt-lid

Composer: Emanuel Hacken
Composer’s Yiddish Name: עמנואל האַקען
Lyricist: Itsik Manger
Lyricist’s Yiddish Name: איציק מאַנגער
Time Period: Unspecified

This Song is Part of a Collection

Pearls of Yiddish Song Cover with Illustration of musicians playing instruments

Pearls of Yiddish Song

First published in 1988 as Pearls of Yiddish Song: Favorite Folk, Art and Theatre Songs, this anthology contains 115 songs. Some material had never been published, while others, included in rare song collections or sheet music, were largely inaccessible. The songs presented reflect Jewish life in Eastern Europe and the United States and depict childhood, love, family celebrations, poverty, work and struggle. There are also songs from the Hasidic and Maskilic movements, songs of Zion and of America, as well as songs from the Yiddish theater.

The title of this anthology derives from the weekly two-page feature column “Pearls of Yiddish Poetry,” which the compilers Yosl and Chana Mlotek initiated in 1970 in the Yiddish newspaper Der Forvertz (the Yiddish Daily Forward). Hundreds of readers from around the world — including authors, composers, singers, actors — became co-participants in this collective folk project and recalled melodies, lines, fragments, stanzas and their variants of songs, poems, and plays which they had heard in their youth. At first, readers sent in only written material. Later, they also taped songs on cassettes, many of whose melodies had, until then, never been recorded. They also identified and supplied missing information regarding lyricists, poets, and composers and described the circumstances surrounding the songs’ origins, their dissemination, diffusion and impact.

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