Processed by Albert Weisser, 1969. Chana Mlotek processed the addenda in 1984 as part of the Max and Frieda Weinstein Music Project. Additional processing by YIVO archivists with the assistance of a grant from the Gruss Lipper Family Foundation. Additional processing by Shayna Goodman in 1911. Described and encoded as part of the CJH Holocaust Resource Initiative, made possible by the Conference on Jewish Material Claims against Germany.
YIVO Institute for Jewish Research© 2012 YIVO Institute for Jewish Research. All rights reserved.
Electronic finding aid was encoded in EAD 2002 by Shayna Goodman in 2011. EAD finding aid customized in ARCHON in 2013. Description is in English.
Title: Guide to the Papers of Abraham Moshe Bernstein (1866-1932), 1878-1937, RG 36
ID: RG 36 FA
Extent: 4.0 Linear Feet
Arrangement: The collection is paginated (except for the Addenda). Entries are identified by folder number and page number.
Abraham Moshe Bernstein (1866, Shatzk, Byelorussia – 1932, Vilna, Poland), cantor, choir master, composer of Jewish liturgical and popular music, music teacher, musicologist and writer. Active in the S. Ansky Historical Ethnographic Society in Vilna where he headed its Music Department from the early 1920s until his death in 1932. Collector of Yiddish musical folklore and author of the Muzikalisher pinkes , an anthology of Yiddish folk musical creativity. The papers contain Bernstein’s manuscripts and published works.
The collection relates to Bernstein's career and consists of the following:
Printed musical works by Bernstein. Musical manuscripts by Bernstein. Liturgical works: Friday evening prayer service; Sabbath morning service; High Holiday prayers; Psalms; zemirot; secular works; children's songs, 12 notebooks. Ethnomusicological works and transcriptions. Arrangements by Bernstein. Works attributed to Bernstein.
Manuscripts of articles and essays by Bernstein relating to Gershon Sirota, Solomon Salzer, Abraham Baer Birnbaum. Partial Yiddish translation of Ecclesiastes. Choral volumes and individuals' part books in manuscript, used by A.M. Bernstein and his choir at Taharot Hakodesh Synagogue, Vilna. Printed music by others: Samuel Alman, Mattiah Bensman, Eduard Birnbaum, D. Deutscher, Aron Friedman, Sh. Greentsayg, Erno Hoffman, Louis Lewandowski, Arno Nadel, David Nowakowski, Aron Merko Rothmuller, Nakhum Sternheim, Joshua Samuel Weisser, Eliakum Zunser. Musical manuscripts by others.
A collection of Jewish folk songs and tunes which was gathered by Bernstein as part of the project directed by him for the S. Ansky Historical-Ethnographic Society in 1926. Many of the collected songs were published in the anthology Muzikalisher pinkes (Musical Record), Vilna 1927 (reprinted in the U.S. by the Cantor’s Association in 1958). A significant part of the 1926 collection has not been published hitherto.
Manuscript of A.M. Bernstein's autobiography, Gilgalim . Obituaries of Bernstein. Photographs of famous cantors. Family photographs of the Bernstein and Punski families.
The music and folklore materials in the A.M. Bernstein papers derive largely from Poland, Lithuania, Ukraine and Belarus, which were the territories that made up the Jewish pale of settlement in the Russian empire. Additionally, there are items sent from Breslau, Boston, and New York, as well as Sephardic tunes from Palestine.
The A.M. Bernstein Papers were deposited at YIVO in Vilna in 1937. Looted by the Einsatzstab Rosenberg and sent to Germany in 1942 or 1943, these papers were recovered by the YIVO in New York in 1947. Some biographical materials including Bernstein’s autobiography (see Supplement C, f.29/4516) were added to the collection by the Punski family from Brussels in 1974.
The bulk of the collection was cataloged by Albert Weisser in 1969. Addendum materials were described by Chana Mlotek in 1984.
Biographical Note
A.M. Bernstein Chronology
Sources and bibliography (abbreviations and full citation) follow the chronology
1866 - Born July 21 (Tishah B’Av) in Shatzk, small town in the province of Minsk, western White Russia. Sixth child of moderately well-to-do parents, (BM, SH). (Other sources give Bernstein’s date of birth as 1865; however, his brother’s article is so detailed and knowledgeable about his early life, and my check on the Hebrew and civil calendars, have convinced me that 1866 is probably the correct date.
1870 - Sent to "kheyder" (elementary religious school) in town. He was so put upon by its autocratic teachers and the clamorous and wailing atmosphere that he became literally ill. (BM).
1871 - Allowed to study in the town "Bet Midrash" where he made remarkable strides. First began to show musical aptitudes in assisting his father, an amateur cantor, during services. (BM, SH).
1875 - Attends Yeshiva in Minsk. (BM).
1876 - Death of Bernstein’s mother to whom he was extremely devoted. Became an enthusiast of the cantor Yisroelke Minsker der Khazn, a “Baal Tefilah” who was known for his sweet hazanut and exemplary diction. Became a member of Yisroelke’s choir but was troubled by the taunts and “vulgar behavior” of his fellow choir members. (BM).
1879 - Enters the famous yeshiva in Mir, Poland. (BM).
1881 - Leaves yeshiva in Mir. Wanders from town to town in Poland. Great dissatisfaction with the prevailing lack of idealism, musicality, style and religious devotion in the hazanut circles he encounters. Extreme economic deprivation. Search for cantor to whom he could be apprenticed with confidence and dedication. (BM).
1884 - Arrives in Kovno, Russia. Befriends Cantor Raphael Yehudah Rabinowitch of the Kovno Khor-Shul with whom he undertakes intensive cantorial studies. Bernstein is convinced that he has found what he has been searching for. Rabinowitch has an enormous influence over him (BARA). Bernstein becomes member of his household. Does extensive reading in Yiddish, Hebrew, German and Russian literature (BM), and is made cantorial assistant and choir master to Rabinowitch (ST). Attends music school in Kovno and works with diligence to acquaint himself with general music history and music theory (LYT). Begins to compose in earnest – finishes songs Am Olam (text by Mordekhai Tzvi Mane) and Zamd un Shtern (text by Shmuel Frug) (BM).
1888 - Becomes cantor at second Khor-shul, Adat Yeshurun in Bialystok (BM, SH).
1889 - Engaged as choir master for Cantor Baruh Leib Rosowsky in Khor-shul, Riga (BARO)
1891 - Engaged as cantor at Vilna Khor-shul, Taharat Hakodesh, 35 Zavalna Street (LNYT, LYT, ST, ZA). (Other sources make the date of this event 1893. But as all other sources agree that his ministry here lasted thirty years and his successor, Eliyahu Zaludkowski, was engaged in 1921 has convinced me that 1891 is correct.)
1893 - Marries Lina Ansell, December 25 in Riga. Six children.
1898 - Publishes in Vilna the song Am Olam (Hebrew) as No. 1 of collection Neginot Yisrael: Liedersammlung aus der Hebraischen Poesie nebst Tonzeichen Zum Gesang mit Klavierbegleitung . Some sources (LYNT, LYT) list 1893 as the publication date of this song, but I have not been able to trace any published copy prior to 1898.
1900 - Publishes in Vilna the songs Al Hareri Tziyon (text by Menahem Mendel Dolitzky) and his subsequently very popular Zamd un Shtern (text by Shmuel Frug) under one cover, the first in Hebrew the second in Yiddish. Some sources list 1893 as publication date (LYNT, LYT), others 1898 (FR). I have found no earlier publication than 1900.
1901 - Publishes children’s song Hisheleg (text by Zalman Shneur) and Shirat Ha’aviv (text by Yavitz) in publication Olam Katan , Vienna, No. 1. (Hebrew).
1903 - Publishes song Hot Rakhmones: nokhn kishinever pogrom (text by Shmuel Frug) in supplement of the publication Der Fraynd , St. Petersburg No. 142, June 28, 1903, pp. 5-6.
1908 - Important notice of Bernstein’s works in St. Petersburg publication Birzhevyie Vedomosti by the music critic Nikolai Feopemptovich Solovyov – “the compositions of A.M. Bernstein deserve close attention because of their religious ecstasy and the beauty of their oriental elements” (LYT).
1912 or 1914 - Publishes in Vilna Avodat Haboreh , Parts I and II, collections of liturgical pieces for cantor solo, cantor and choir by A.M. Bernstein and some of his contemporary cantor-composers. No publication date. The New York Public Library-Jewish Division, in its catalogue, dates these volumes as 1912, all other sources 1914.
1915-1918 - German occupation of Vilna. Bernstein conducts Hazamir Choir and the students’ choir of the professional school “Hilf durkh arbet.” His setting of Y.L. Peretz’s dramatic poem Dos fremde khupe kleyd is performed a few times on local stages. Readies for publication a collection of 150 Hebrew and Yiddish children’s songs and a solfegge manual for children. Sets Shmuel Ansky’s poems Mayn lid and Der shnayderl . Publishes Herzl’s Yortzayt: Troyer lid far a gemishtn khor un klavier (text by M. Shiva), 1917 in supplement to Vilna publication Unzer Osed . Musical director of the Vilna Jewish musical organization Bene Asaf. Receives its first award (BAP).
1919 - Publishes in Vilna the song Tsum hemerl (O hemerl, hemerl klap) (text by Avrohom Reisen) solo voice, with or without choir (Yiddish). Attends first meeting on February 23 of the music section of the S. Ansky Vilna Jewish Historical-Ethnographical Society. Its organization, goals and activities devised by Bernstein (SHM).
1920 - On December 8, participates in a “troyer ovnt tzu shloshim nokhn toyt fun Shloyme Anski. (Memorial evening for S. Anski). Choir under Bernstein’s direction performs his settings of Ansky’s poems Mayn lid , Der shnayderl and Lazare Saminsky’s setting of Ansky’s Di nakht .
1921-1926 - Resigns his post as cantor of Taharat Hakodesh. Bitter disagreements with “gabaim” (synagogal managerial heads) because of their petty bickering and musical insensitivity. Congregation as a whole and Vilna community remain devoted to him. A period of sharp disappointment and hardship for Bernstein. Teaches music in Vilna Hebrew schools and such secular institutions as Mefitze Haskalah where he structures special musical curricula. Organizes male choir at Vilna Teachers Seminary. Writes musical criticism and articles for various publications. Composes children’s operetta Snow White (text in Hebrew).
1927 - Publishes in Vilna Muzikalisher pinkes a collection of religious folk songs mainly of Hassidic origin. Considered Bernstein’s best scholarly work. Published under auspices of the Jewish Historical-Ethnographical Society. Translates Kohelet (Eccliastes) into Yiddish. Tzum hemerl reprinted by Metro Music Co., New York.
1931 - Translates Shir Hashirim (Song of Songs) into Yiddish. Publishes Vol. III of Avodat Haborah – cantor, choir and cantor solo, Vilna.
1932 - Dies June 16 in Vilna.
1934 - A.M. Bernstein’s Av Harahamim Shokhen Meromim published in Di khazonim velt , Warsaw, 1 May 1934 supplement.
1935 - A.M. Bernstein’s Tziyona for four part mixed choir (text by Hikiel Zunsky) published in Di khazonim velt , Warsaw, 11 April, 1935, pp. 20.
1937 - Tsum hemerl published by White-Smith Music Publishers Co., New York, in an arrangement by Boris Levenson for four part choir. Yiddish and English text.
1958 - Muzikalisher pinkes republished by The Cantor’s Assembly of America.
Sources and Bibliography
BAP - Bernstein, A.M. “Di Muzik in Vilne far der tsayt fun di okyupatsie” (Music in Vilna During the Time of the Occupation) in Pinkes far der geshikhte fun Vilne in di yorn fun milkhome un okyupatsie , Vilna, 1922, pp. 683-688. (Yiddish).
BARA - Bernstein, A.M. “Yidishe shul muzik un R.Y. Rabinovitsh” (Jewish Synagogue Music and R.Y. Rabinowitch), Di khazonim-velt , Warsaw. 7 (May, 1934) pp. 4-8. (Yiddish).
BARO - Bernstein, A.M. “Vi azoy ikh bin gevorn dirigent bay Rosovsky” (How I Became Rosowsky’s Choir Master), Di khazonim-velt , Warsaw. 10 (August, 1934) pp. 9. (Yiddish).
BM - Bernstein, Maier. “A.M. Bernshtayn: Zikhroynes iber mayn bruder” (A.M. Bernstein: Remembrances of My Brother). Di khazonim-velt , Warsaw. 9 (July, 1934) pp. 15-17. (Yiddish).
FR - “Fule reshime fun A.M. Bernshtayns kompozitsies” (Complete List of the Musical Works of A.M. Bernstein). Di khazonim-velt , Warsaw, 7 (May, 1934) pp. 8-10. (Yiddish).
LNYT - Lexikon fun der nayer yidisher literatur . (Lexicon of the New Jewish Literature). New York, 1956. Vol. I, pp. 403-405. (Yiddish).
LYT - Lexikon fun der yidisher literatur (Lexicon of the Jewish Literature), Vilna, 1926. Vol. I, pp. 367-369. (Yiddish).
SH - Sherman, Pinkhos. “A.M. Bernshtayn: tsu zayn tsveytn yortzayt” (A.M. Bernstein: On the Second Anniversary of His Death). Di khazonim-velt . Warsaw. 7 (May, 1934) pp. 1-3. (Yiddish).
SHM - Shalit, Moshe. “Preface to A.M. Bernstein’s Muzikalisher pinkes ” Vol. I, Vilna. 1927, n.p. (Yiddish).
ST - Stolnitz, Nathan. Negine in yidishn lebn , (Music in Jewish Life), Toronto, Canada, 1957. See “Negine in lite” (Music in Lithuania) pp. 17-19; “Vilner khor shul Taharat Hakodesh” (The Vilna Choir Synagogue Taharat Hakodesh) pp. 20-21; “Avraham Moshe Bernshtayn” (A.M. Bernstein), pp. 22-24; passim. pp. 25, 30. (Yiddish).
ZA - Zaludkowski, Eliyahu. Kultur-treger fun der yidisher liturgye . (Culture Bearers of the Jewish Liturgy). Detroit, Mich., 1930. pp. 255-256, 292. (Yiddish).
An-Ski, S., 1863-1920, Bernstein, Abraham Moshe, 1865-1932, Cantors (Judaism), Clippings - Clippings (information artifacts), Jews Music, Music by Jewish composers, Nigunim, Poland, Russia, Sheet music, Theater, Yiddish, YIVO Archives
Access Restrictions: Permission to use the collection must be obtained from the YIVO Archivist.
Use Restrictions:
Permission to publish part or parts of the collection must be obtained from the YIVO Archives. For more information, contact:
YIVO Institute for Jewish Research, 15 West 16th Street, New York, NY 10011
email: archives@yivo.cjh.org
Acquisition Method: Records were received from YIVO, Vilna in 1947. Later additions were contributed by the Punski family in 1974.
Preferred Citation: Published citations should take the following form:Identification of item; date (if known); Papers of Abraham Moshe Bernstein; RG 36; folder number; YIVO Institute for Jewish Research.
Yosef Meslonim [Yoshe Slonimer Altshuler]. No indications of composers except following:
- Cantor Rabinowitch aus Bialistok [Mosheh Bass Rabinowitch?] Selah
- Kartzoni-Melekh Elyon Naaritzkha
- Mimkomkha ‘asher shirat Bevilna’. Anthology of cantorial recitatives and works for cantor and 3 and 4 part choir. Hebrew [Liturgy]. 239 pp. Bound copy of mss in different hands. No title page. Merely indication in Hebrew script. Shema Yisrael-Yosef Meslonim. Back page contains indication in Hebrew script. Min Hahazan Mohilev. Indication in Hebrew script. Min Hahazan Mohilever [probably owner of copy]
This Addenda consists of manuscripts of Jewish songs and melodies that Abraham Moshe Bernstein assembled in 1926 for the S. Ansky Jewish Historical Ethnographic Society in Vilna. The collection is comprised of Shabbes-zmires (Sabbath hymns and melodies), holiday songs, religious, ritual and secular songs, Hasidic melodies and folksongs. Most of them are in Hebrew, some in Yiddish and others have no words altogether. The Addenda was processed by Chana Mlotek in January 1984 as part of the Max and Frieda Weinstein Music Project.
In 1926 Bernstein supervised a project to collect nigunim (melodies), most of which were published in a volume Muzikalisher pinkes, Vilna 1927 (This publication was reprinted in the U.S. by the Cantor’s Association in 1958).
This addenda consists of hitherto unpublished manuscripts.
Included among the Hasidic sources whose nigunim were collected are the Barkover ( f. 11), Gerer (f. 9), Talner (f. 11), Czortkover (f. 2), Libishayer (f. 1), Lubavitcher (f. 7), Stoliner (f. 1, 7), Slonimer (f. 1), Kosover (f. 3), and others.
The yeshivas, whose more "secular" songs were harvested include the schools of Volozhin (f. 2), Vilkomir ( f. 2, 10), Lechowicze (f. 7), Nowogrodek ( f. 2 , 10), Slobodka ( f. 7, 10), Slonim (f. 2), Kleck ( f. 10), and others.
Materials hail largely from Polad, Lithuania, Latvia and Russia; more specifically, from localities: Aleksandrovsk, Ostrowo, Bialystok, Berditshev, Dabrowice, Dvinsk, Warsaw, Vitebsk, Vilna, Vilkomir, Vladimir, Khomsk, Lomza, Lwow, Swislocz, Stolin, Slutsk, Semiatycze, Pinsk, Kovno, Kolomyja, Kamieniec, Kosow, Krakinove, Krementshug, Radvits, and Ejszyszki.
Beyond that, there are items acquired and sent from Breslau, Germany, Boston and New York, as well as Sephardic and Yemenite melodies from Palestine.
Among the unusual nigunim worthy of mention is the song Riboyne-shel-Oylem that the Lubavitch Rebbe sang as he was being released from Prison (f.1, 2), a melody heard in a production of Sholem-Aleichem’s play Mazl-Tov ( f. 1) and apparently the original of a melody in a setting of The Dybbuk by An-sky ( f. 10). Two items are particularly venerable - a melody of Tsur misheloy (a “table nigun” sung before the blessing following a meal) , that was received from R’Avrom Yankev HaKohen of Vilna , who had heard it from his father, R’Shloyme HaKohen, Vilner who in turn, remembered it sung by his father, R’Yisroel Moyshe HaKohen (f. 45:7), and dance-themes annotated by an old musician in Swieciany.
There are also melodies to a number of songs for which the text only, but no music appear in the very first collection of Yiddish folksongs published by Shaul Ginsburg and Pinhas Marek in Petersburg in 1901 ( f. 1). Included as well are several art-scores composed for texts by the poets, Dovid Fishman, A. Zak, H. N. Bialik, and Zalmen Shneur (f. 15).