During a visit to Kraków the week before Christmas, I attended a small gathering at an acquaintance’s apartment. While they sang Polish Christmas carols, one particular melody stood out to me — it was remarkably similar to a Ukrainian Christmas carol, with lyrics that resembled those of its Ukrainian counterpart. I was thrilled to discover this example of musical diffusion between our cultures.
Such cultural diffusion is a common occurrence, often leading to the adoption and adaptation of elements like language and music across neighboring communities. In particular, the realm of music showcases how songs are frequently shared, translated, and woven into various local traditions, reflecting the fluid exchange of cultural elements.
In Galicia, examples of such cultural exchange are abundant, particularly between Poles and Ukrainians, but also among all the peoples that lived there. Recently I wrote about one such example, of a Ukrainian World War I song spreading to Jews in the trenches, who then translated it (see Chorna Rillia/1914). The kolomyika (Polish: kołomyjka; Yiddish: kolomeyke) is another example a song that transcended cultural boundaries. Originating as a Hutsul music genre from the village of Kolomyia, in eastern Galicia, it blends fast-paced folk dance with witty rhymed verses. Historically, it enjoyed popularity among Ukrainians, Poles, and Jews alike.
In this post, I’ll explore the shared musical heritage between Ukrainians and Poles, focusing on songs that share melodies — and, in most cases, lyrics or themes.
This cultural interchange was particularly prominent in western Ukraine and Galicia, along the borderlands with Poland. This was influenced by the cohabitation of Ukrainians and Poles, as well as western Ukraine’s inclusion within Poland during the interwar period. As a result, many of these songs are more widely recognized in this region of Ukraine than in other parts of the country.
I’ll examine examples from various historical periods, spanning from folk songs to Christmas carols, wartime anthems (especially from WWI), scouting songs, and popular tunes from the interwar era. While this musical exchange continues to shape contemporary music, I’ll focus solely on historical examples in this article.
Famous Examples: ‘Hey Falcons’ & ‘Only in Lviv’ & a Hutsul Ballad
Among the most well-known shared songs are “Hej Sokoły” / “Hey, Sokoly” (Hey Falcons) and “Tylko w Lwowie” (Only in Lviv). The origins of “Hey Falcons” are subject to debate, with some attributing it to Polish folk traditions, others to Ukrainian roots, and still others suggesting a blend of Polish-Ukrainian influences. Numerous sources, including Wikipedia and Biblioteka Piosenki offer insights into its history. The history of “Tylko w Lwowie” is more straightforward: it is a jazz-era Polish song about Lviv that Ukrainians later translated. More information about the history of this song can be found here.
Another notable example is the Polish song “Czerowny Pas” / Ukrainian song “Verkhovyna,” which originated in the 1843 Hutsul drama called Karpaccy Górale (Carpathian Highlanders). More on this one can be found here.
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Below I will share some of the possibly lesser known examples. I put together this list with the help of Danylo Centore and his wonderful resource on the songs of the Ukrainian diaspora WikiSpiv.
- Folk Songs
- Lullabies & Rhymes
- World War I Songs: Polish Legions / Sich Riflemen
- ‘One, two, three’
- Polish Lwów legion song: ‘Dalij, bracia, równym krokim’
- Polish legion song: ‘Ciężkie czasy legionera’
- Polish soldier’s march: ‘Jak szło wojsko raz ulicą’
- Polish legion song: ‘Hej panienki posłuchajcie’
- Ukrainian Sich Riflemen song: ‘Hey vy khloptsii Sichoviyi’
- Ukrainian Scouting Song: ‘Nasha kasha taborova’
- Sich Rifleman and Polish Partisan Song: A Soldier Headed Off to War
- ‘One, two, three’
- Christmas Carol
- Spotify Playlist
Folk Songs
Cumulative Song: ‘I Served the Master’
The Polish song “Służyłem u pana,” known in Ukrainian as “Oy sluzhyv ya v pana,” is a cumulative song in which a master promises a peasant an animal in exchange for working for the year.
According to Biblioteka polskiej piosenki:
“The text of the song originates from Gniezno. It is a so-called cumulative song, created as a result of enumerating increasingly new objects, with each successive verse also repeating previously listed lines. The sources of these works can be found in the Jewish Haggadah, which is a didactic-religious song that involves a similar enumeration of things or actions. This form then transitioned to schools as a mnemonic device for educational purposes, and from there to folk songs performed during festivities. The composition can be found in the White Ruthenia and Hungarian regions.
“This humorous song, structured in the form of a ‘counting rhyme’ of paradoxical situations or ideas, is documented by Oskar Kolberg in many regions of the country. In Polish folklore, we encounter many songs, texts, and folk tales of this type. For example, ‘I’m a little student, I would preach to you, but the dog ate my breakfast.'”
As with many folk songs, this tune has evolved into numerous variations in both Polish and Ukrainian traditions. However, it seems to be more widely recognized among Ukrainians today, particularly in Galicia, than it is among Poles. In western Ukraine, this song remains especially popular at weddings, notably in rural areas. Just the other day, while relaxing in my living room in Lviv, I could hear my neighbors joyfully singing and dancing to this song with their granddaughter.
Polish folk song: ‘Służyłem u pana’
The beginning of one of the many Polish versions:
Służyłem u pana pierwszego lata,
Wysłużyłem sobie kuruszkę za to.
Moja kurosieczka
Latała, pląsała,
Koło komineczka.
Służyłem u pana drugiego lata,
Wysłużyłem sobie gąseczkę za to.
Moja gąska
Złotopląska,
Moja kurosieczka…
I served the master for the first year,
Earned myself a little chicken for it.
My little chicken
Flew, danced,
Around the little stove.
I served the master for a second year,
Earned myself a gosling for it.
My little gosling
Golden and dancing,
My little chicken…
Ukrainian folk song: ‘Oy, sluzhyv ya v pana’
The beginning of one of the many Ukrainian versions:
Ой, служив же я в пана
Тай першеє літо тай літо, гей!
Заслужив же я у пана
Курочку за літо.
А та курка-чубатурка
По садочку ходить тай ходить,
Курчаточок водить тай водить.
Ой, служив же я в пана
Тай другеє літо тай літо, гей!
Заслужив же я у пана
Качечку за літо.
А та качка дрібно скаче,
А та курка-чубатурка
По садочку ходить тай ходить,
Курчаточок водить тай водить.
Oh, I served the master,
For the first year, hey, the year, hey!
I earned from the master,
A little chicken for the year.
And that little curly chicken,
Around the garden it goes, hey, it goes,
Leading its little chicks along, hey, along.
Oh, I served the master,
For the second year, hey, the year, hey!
I earned from the master,
A little duck for the year.
And that duck jumps around,
And that little curly chicken,
Around the garden it goes, hey, it goes,
Leading its little chicks along, hey, along.
Haying Song: ‘On Monday Morning, Father Was Mowing Hay’
This is a prime example where the Polish and Ukrainian versions not only share identical melodies but also very similar lyrics. It’s highly probable that the Ukrainian rendition is a direct translation of the original Polish song.
According to Biblioteka Polskiej Piosenki, the melody used in this song has French origins and dates back to 1825. The song can be found in Polish song books from at least as far back as 1917 and 1920.
The song is about toiling on the land, preparing hay. In its original form, the song’s last verse portrays a rather grim reality where the father and son spend their hay earnings on drinking during Sundays. In both the Polish and Ukrainian versions, however, this verse has been altered to be more suitable for children.
The Polish song enjoys considerable popularity among Poles, with numerous variations known. It even made an appearance on the soundtrack of Jack Black’s film The Polka King, based on the true story of a Polish-American polka bandleader Jan Lewan.
Conversely, the Ukrainian rendition of the song is less recognized among Ukrainians, though better known in western Ukraine than the rest of Ukraine. I recall singing this song during my childhood in Chicago in Plast (Ukrainian scouting). This is not surprising as my community consisted predominantly of descendants of Galician WWII refugees.
Polish folk song: ‘W poniedziałek rano kosił ojciec siano’
W PoniedzŁek rano,
Kosił ojciec siano,
Kosił ojciec, kosił ja,
Kosiliśmy obydwa.
A we Wtorek rano,
Grabił ojciec siano,
Grabił ojciec, grabił ja,
Grabiliśmy obydwa.
A w Środę rano,
Suszył ojciec siano,
Suszył ojciec, suszył ja,
Suszyliśmy obydwa.
A we Czwartek rano,
Przewracalim siano,
Robił ojciec, robił ja,
Robiliśmy obydwa.
A na Piątek rano,
Składał ojciec siano,
Składał ojciec, składał ja,
Składaliśmy obydwa.
A w Sobotę rano,
Zwoził ojciec siano,
zwoził ojciec, zwoził ja,
Zwoziliśmy obydwa.
A w Niedzielę rano,
Krówki jadły siano,
spoczął ojciec, spoczął ja,
Spoczęliśmy obydwa.
Original last verse:
A w Niedziela rano,
pzepilismy siano,
pzepil ojciec, pzepil ja,
pzepilismy obydwa.
On Monday morning,
Father was mowing hay,
Father was mowing, I was mowing,
We both were mowing.
And on Tuesday morning,
Father was raking hay,
Father was raking, I was raking,
We both were raking.
And on Wednesday morning,
Father was drying the hay,
Father was drying, I was drying,
We both were drying.
And on Thursday morning,
Father was pitching the hay,
Father was pitching, I was pitching,
We both were pitching.
And on Friday morning,
Father was stacking the hay,
Father was stacking, I was stacking,
We both were stacking.
And on Saturday morning,
Father was hauling the hay,
Father was hauling, I was hauling,
We both were hauling.
On Sunday morning,
The cows were eating the hay,
Father rested, I rested,
We both rested.
Original last verse:
On Sunday morning,
We drank away the hay,
Father drank, I drank,
We both drank away.
Listen to old Polish recordings here.
Ukrainian folk song: ‘V ponedilok rano kosyv tato sino’
В понеділок рано,
Косив тато сіно.
Косив тато, косив я,
ми косили обидва.
А в вівторок рано,
Грабав тато сіно.
Грабав тато, грабав я,
Ми грабали обидва.
А в середу рано,
Сушив тато сіно.
Сушив тато, сушив я,
Ми сушили обидва.
А у четвер рано,
Вітрив тато сіно.
Вітрив тато, вітрив я,
Ми вітрили обидва.
А в п’ятницю рано
Складав тато сіно.
Складав тато, складав я,
Ми складали обидва.
А в суботу рано,
Звозив тато сіно.
Звозив тато, звозив я,
Ми звозили обидва.
А в неділю рано,
Їли коні сіно,
Спочив тато, спочив я,
Ми спочили обидва!
Original last verse:
А в неділю рано,
пропив тато сіно
Пропив тато, пропив я,
Ми пропили обидва!
On Monday morning,
Dad was mowing hay.
Dad was mowing, I was mowing,
We both were mowing.
And on Tuesday morning,
Dad was raking hay.
Dad was raking, I was raking,
We both were raking.
And on Wednesday morning,
Dad was drying the hay.
Dad was drying, I was drying,
We both were drying.
And on Thursday morning,
Dad was airing out the hay.
Dad was airing out, I was airing out,
We both were airing out.
And on Friday morning,
Dad was stacking the hay.
Dad was stacking, I was stacking,
We both were stacking.
And on Saturday morning,
Dad was hauling the hay.
Dad was hauling, I was hauling,
We both were hauling.
And on Sunday morning,
the horses were eating hay.
Dad rested, I rested,
We both rested!
Original last verse:
On Sunday morning,
Dad drank away the hay
Dad drank, I drank,
We both drank away!
Jesting Songs ‘about a Woman’
Several Ukrainian songs share the same melody as the Polish folk song “Miała baba koguta.” Among them are compositions with similar themes — jesting songs about a “baba” (woman), as well as a Ukrainian scouting song.
In this instance, determining the direction of diffusion is less straightforward. It’s hard to ascertain whether the original melody originated from a Polish or Ukrainian folk song.
Polish folk song: ‘Miała baba koguta’
Biblioteka Polskiej Piosenki writes that: “This playful folk song even became a popular piece performed by jazz bands. From this series of jesting songs ‘about a woman,’ there is also: ‘Miała baba figla’ [The woman had a whim], ‘Była babuleńka rodu bogatego’ [She was a lady from a wealthy family], and so on. In the Legions, they sang: ‘A soldier stands in his quarters, the goose takes the last woman.’ The fun consists in piling up nonsensical situations and composing subsequent verses that are humorous, especially for the creators.”
This song, like ‘W poniedziałek rano kosił ojciec siano,’ was featured in Jack Black’s The Polka King, indicating its considerable popularity.
Miała baba koguta, koguta, koguta,
wsadziła go do buta, do buta, hej!
Oj mój miły kogucie, kogucie!
Jakże ci tam w tym bucie, w tym bucie,
w tym bucie, w tym bucie jest?
Miała baba indora, indora, indora,
wsadziła go do wora, do wora, hej!…
Miała baba świneczki, świneczki,
wsadziła je do beczki, do beczki, hej!…
A woman had a rooster, a rooster, a rooster,
She put him in a shoe, a shoe, hey!
Oh, my dear rooster, rooster!
How are you in that shoe, in that shoe,
in that shoe, in that shoe?
A woman had a goose, a goose, a goose,
She put it in a sack, a sack, hey!…
A woman had piglets, piglets,
She put them in a barrel, a barrel, hey!…
Ukrainian folk song: ‘Poyikhala baba v lis’
This Ukrainian rendition closely parallels the previously mentioned Polish version, both being “jesting songs about women,” albeit portraying a different scenario.
Поїхала баба в ліс,
Баба в ліс, баба в ліс
Без підтоки, без коліс,
Без коліс! Баба!
Зачепила сухий пень,
Сухий пень, сухий пень,
Простояла цілий день,
Цілий день! Баба!
А хто бабу відчепить,
Відчепить, відчепить –
Біду собі зачепить,
Зачепить! Баба!
Іван бабу відчепив,
Відчепив, відчепив,
Біду собі підчепив,
Підчепив! Баба! …
A woman went to the woods,
To the woods, to the woods,
Without a pole, without wheels,
Without wheels! Woman!
She hooked onto a dry stump,
Dry stump, dry stump,
Stood there the whole day,
The whole day! Woman!
And whoever unhooks the woman,
Unhooks, unhooks –
Trouble will hook onto themselves,
Hook onto themselves! Oh, woman!
Ivan unhooked the woman,
Unhooked, unhooked,
Trouble hooked onto himself,
Hooked onto himself! Oh, woman! …
Rusyn song: ‘Mala baba try syny’
This version is a Rusyn song. Some sources list it as a “humorous” song type. It’s about a woman with three sons.
Мала баба три сини,
Три сини, три сини,
Та всі були русини,
Русини, гей!
В гаю, в гаю,
В гаю зеленім то було,
В гаю, в гаю,
В гаю зеленім.
Один ходив до школи,
До школи, до школи.
Другий робив постоли,
Постоли, гей!
В гаю, в гаю,
В гаю зеленім то було,
В гаю, в гаю,
В гаю зеленім.
Третій робив санчата,
Санчата, санчата,
Щоби возить дівчата,
Дівчата, гей!
В гаю, в гаю,
В гаю зеленім то було,
В гаю, в гаю,
В гаю зеленім.
A woman had three sons,
Three sons, three sons,
And all of them were Rusyns,
Rusyns, hey!
In a grove, in a grove,
In a green grove it was,
In a grove, in a grove,
In a green grove.
One went to school,
To school, to school.
The second made shoes,
Shoes, hey!
In a grove, in a grove,
In a green grove it was,
In a grove, in a grove,
in a green grove.
The third made sleds,
Sleds, sleds,
To carry the girls,
Girls, hey!
In a grove, in a grove,
In a green grove it was,
In a grove, in a grove,
In a green grove.
Ukrainian scouting song: ‘Jizhak mamu poprokhav’
This version is a Plast (Ukrainian scouting) song where a hedgehog desperately wants to become a novak (a young Plast scout) and have a glorious riy (a group of young Plast scouts).
Їжак маму попрохав,
Попрохав, попрохав,
Щоби новаком він став,
Гей, він став, гей!
Хоче мати однострій,
Однострій, однострій,
І їжацький славний рій,
Славний рій, гей!
A hedgehog asked his mom,
Asked his mom, asked his mom,
To become a novak,
Hey, he became, hey!
He wants a uniform,
Uniform, uniform,
And a glorious hedgehog riy,
Glorious riy, hey!
Folk Song about Hanna
This song presents an interesting case where both the Polish and Ukrainian versions share the same melody and revolve around a girl named “Hanna.” However, each version tells a different story about her.
Polish folk song: ‘Haniś, moja Haniś’
This is Polish folk song, dating to before World War I. It was popular in 1914 in the 1st Brigade.
Haniś moja, Haniś,
cóżeś za Hanisia,
żeś mi nie podała, żeś mi nie podała
rączki na konisia. (bis)
Rączki na konisia,
Na mego bułanka,
Haniś moja, Haniś, Haniś moja, Haniś
Cóżeś za kochanka? (bis)
Podajże mi rączkę
przez zieloną lączkę,
podajże mi rączkę, podajże mi rączkę,
weź moją obrączkę. (bis)
Podajże mi rączkę, podajże mi obie,
siądziem na konika,
siądziem na konika,
pojedziemy sobie. (bis)
My Hania, my Hania,
what kind of Hanisia are you,
That you didn’t give me, didn’t give me,
Your hands on my little horse.
Hands on my little horse,
on my little chestnut,
Hania, my Hania, Hania, my Hania,
What kind of lover are you? (repeat)
Give me your hand
through the green meadow,
Give me your hand, give me your hand,
Take my ring.
Give me your hand, give me both,
We’ll sit on the little horse,
we’ll sit on the little horse,
We’ll ride away. (repeat)
Listen to old recordings here.
Ukrainian folk song: ‘Haniu moya, Haniu’
In Ukrainian sources it is called a “Galician song.”
Ганю моя, Ганю,
Яка ти дівчина,
Кажеш що ти вірна,
І що мене любиш,
А ходиш з іншима. (2)
Я до тебе ходжу,
Сам не знаю чого,
Кажуть мені люди
І сам добре знаю,
Що маєш іншого. (2)
Ти іншого маєш,
Мене покидаєш,
Болить мене серце,
Ганю за тобою,
Ти того не знаєш. (2)
My Hania, my Hania,
What kind of girl are you?
You say you’re faithful,
And that you love me,
But you go around with others. (2)
I come to you,
I don’t know why,
People tell me
And I know well myself,
That you have someone else. (2)
You have someone else,
You’re leaving me,
My heart hurts,
Hania, after you,
You don’t know that. (2)
Folk and Scouting Song: ‘Red Rose’
In this example, the melody of the song remains consistent between the Ukrainian and Polish renditions, yet the lyrics diverge, except for the shared mention of a red rose in the opening line. Most likely, this was originally a Rusyn folk song that later inspired the Polish version.
Rusyn song: ‘Chervona rozha troyaka’ (‘Mala ya muzha’)
This a Rusyn / Lemko folk song, with lyrics in a Carpathian dialect. Numerous versions of this song exist, and it holds particular popularity among Plast scouts in the diaspora.
The Ukrainian rendition depicts a narrative of an abusive husband, abandoned by his wife, who later returns because he cannot care for their children.
Червона рожа трояка,
Червона рожа трояка,
Мала я мужа, мужа я мала,
Мала я мужа пияка.
…
Three red roses,
Three red roses,
I had a husband, a husband I had,
I had a drunkard husband.
…
Polish scouting song: ‘Harcerz i harcerka’
The Polish version pertains to the Polish scouting movement known as “Harcerstwo” — where a boy scout is referred to as a “harcerz” and a girl scout as a “harcerka.”
It is probable that sometime prior to World War II, a Polish scout encountered the aforementioned Rusyn folk song and composed new lyrics for it, while retaining the original opening line about a red rose.
Czerwona róża, biały kwiat,
Czerwona róża, biały kwiat.
Wędruj harcerko, harcerko wędruj,
Wędruj harcerko ze mną w świat.
…
Red rose, white flower,
Red rose, white flower.
Wander harcerko, harcerko wander,
Wander harcerko with me into the world.
…
Lemko and Polish Legion Song: ‘Whose field is untilled?’ / ‘Who are these soldiers?’
The next example is Ukrainian wedding song “Chyie zh to polechko nezorane” from the Lemko region, the melody of which was used for a Polish war song “Przybyli ułani pod okienko.”
Lemko wedding song: ‘Chyie zh to polechko nezorane’
This wedding song held significant popularity among the Lemkos, as evidenced by its prominent placement in the folklore collection by Yosafat Dzyobko, an emigrant who left for Canada at the end of the 19th century.
Чиє ж то полечко не зоране?
Чиє ж то полечко не зоране?
То мого милого занедбане. (4)
Оране, оране, але мало,
Оране, оране, але мало,
Бо ми ся колечко поломало. (4)
Whose field remains untilled?
Whose field remains untilled?
It’s my sweetheart’s neglected one. (4)
He plows and plows, but it’s not enough,
He plows and plows, but it’s not enough,
Because the ring broke. (4)
Polish legion song: ‘Przybyli ułani pod okienko’
The Polish song that uses this melody is one of the most popular songs from World War I. The text was written in 1914 and its author is probably Feliks Gwiżdż, a legionnaire of the 4th Infantry Regiment.
Przybyli ułani pod okienko,
Przybyli ułani pod okienko,
Stukają, wołają, puść panienko! (4)
– O Boże, a cóż to za wojacy?
– O Boże, a cóż to za wojacy?
– Otwieraj, nie bój się, to czwartacy. (4)
The Uhlan cavalry arrived at the window,
The Uhlan cavalry arrived at the window,
Knocking, calling, “Let us in, my lady!” (4)
Oh God, who are these soldiers?
Oh God, who are these soldiers?
Open up, don’t be afraid, they’re the fourth cavalry. (4)
Listen to old recordings here.
Lullabies & Rhymes
A King [Prince], Queen & Page Meet a Terrible Fate
The lullaby “Był sobie Król” (There Was a King) is found in both Polish and Ukrainian traditions. This song originated during the interwar period and was composed by Janina Porazińska (1882-1971), a renowned singer and author of works for children and youth. In Ukrainian, the lullaby is commonly referred to as “Zirky myhtiat” (Twinkling Stars). Given that Galicia and Volyn where part of Poland during this time, and as Polish was the dominant language across the region, it’s not surprising that songs from popular Polish cultural were adopted by Ukrainians. During my upbringing, we often sang the Ukrainian version of this lullaby at scouting camps.
Polish lullaby: ‘Był sobie Król’
The Polish version is about a king, page, and queen, who all fall in love with one another, but then they are met by a terrible fate:
Był sobie król, był sobie paź,
i była też królewna,
Żyli wśród róż, nie znali burz
Rzecz najzupełniej pewna.(x2)
Kochał ją król,
kochał ją paź,
kochali ją oboje
i ona też kochała ich
kochali się we troje.
Lecz srogi los
okrutna śmierć
w udziale im przypadła
Króla zjadł pies,
pazia zjadł kot
Królewnę myszka zjadła (x2)
Lecz żeby ci
nie było żal
dziecino ukochana
z cukru był król
z piernika paź
królewna z marcepana (x2)
There was a king, there was a page,
and there was also a princess,
They lived among roses, unaware of storms,
A matter completely certain. (x2)
The king loved her,
The page loved her,
They both loved her,
And she loved them too,
They loved each other as three.
But a cruel fate,
A ruthless death,
Befell them.
A dog ate the king,
A cat ate the page,
A mouse ate the princess. (x2)
But so that you won’t be sad,
Darling child,
The king was made of sugar,
The page of gingerbread,
The princess of marzipan. (x2)
Ukrainian lullaby: ‘Zirky myhtiat’ / ‘Buv sobi kniaz’
In the Ukrainian version, the lullaby is about a prince, page, and princess:
Зірки мигтять, всі діти сплять,
Маруся хоче спати,
Засни, засни, очка замкни,
Казку буду казати.
Був собі князь, був собі паж,
Була і теж царівна,
Жили в гаю, в святім раю,
Краса красі нерівна.
В царівні тій любився князь,
Любилися обоє.
В царівні теж любився паж,
Любилися всі троє.
Аж раз прийшла пора страшна,
Жорстока смерть наспіла,
Князя з’їв пес, пажа з’їв кіт,
Царівну мишка з’їла.
А щоб тобі не було жаль,
Cкажу лиш для розради:
З цукру був князь, з тістечка паж,
Царівна з шоколади.
Stars are twinkling, all the children are asleep,
Marusia wants to sleep,
Close your eyes, close your little eyes,
I will tell you a fairy tale.
There was a prince, there was a page,
And there was also a princess,
They lived in a grove, in a holy paradise,
The beauty of which was unequalled.
The prince loved the princess,
They both loved each other.
The page also loved the princess,
All three of them loved each other.
But then a terrible time came,
Cruel death came along,
A dog ate the prince, a cat ate the page,
A mouse ate the princess.
And so that you won’t be too sad,
I’ll tell you just for comfort:
The prince was made of sugar, the page of pastry,
The princess of chocolate.
Ah-ah-ah, Two Little Kittens
In both Polish and Ukrainian traditions, there is a lullaby (“Aaa, kotki dwa” / “Aaa, kotky dva”) that features two kittens and the soothing sound “aaa,” designed to lull a child to sleep. Various regional versions of these lullabies exist.
It’s unclear whether the lullaby originated in Polish or Ukrainian tradition. However, in a recent collection of Ukrainian and Polish lullabies titled Kolyskovi / Kołysanki, “Aaa, kotki dwa” is recognized as Polish, while a closely related Ukrainian lullaby on the same theme, “Kotyku sirenkyi,” is identified as Ukrainian. I’ve also come across another similar song “Liuli, liuli, kotky dva,” which comes from central Ukraine and begins with the line “Liuli, liuli, two little kittens, both grayish-white.”
Polish lullaby: ‘Aaa, kotki dwa’
This folk lullaby has been documented as early as the mid-19th century. Renowned Polish ethnographer Oskar Kolberg references it in his seminal work Lud. Jego zwyczaje, sposób życia, mowa, podania, przysłowia, obrzędy, gusła, zabawy, pieśni, muzyka i tańce, first published in 1865.
Aaa, kotki dwa
szarobure obydwa
jeden duży, drugi mały
oba mi się spodobały
Aaa, kotki dwa
szarobure obydwa
nic nie będą robiły
tylko ciebie bawiły. Aaa…
Aaa, two kittens,
Both grayish-brown.
One big, the other small,
I like them both.
Aaa, two kittens,
Both grayish-brown.
They won’t be doing anything,
Just playing with you. Aaa…
Polish interwar song: ‘Ach śpij kochanie’
In 1938 Henryk Wars and Ludwik Starski created a fuller composition based on the lullaby called “Ach, śpij kochanie” (Oh, sleep, my darling).
The song was first performed in Poland by Adolf Dymsza and Eugeniusz Bodo in the 1938 movie Paweł i Gaweł.
W górze tyle gwiazd,
w dole tyle miast.
Gwiazdy miastom dają znać,
że dzieci muszą spać…
Ach śpij kochanie.
Jeśli gwiazdkę z nieba chcesz, dostaniesz.
Czego pragniesz daj mi znać,
ja ci wszystko mogę dać.
Więc dlaczego nie chcesz spać???
Ach, śpij, bo nocą,
kiedy gwiazdy się na niebie złocą,
wszystkie dzieci, nawet złe
pogrążone są we śnie,
A ty jedna tylko nie….
Aaa… Aaa…
Były sobie kotki dwa.
Aaa… Aaa…
Szarobure, szarobure, obydwa.
Ach, śpij, bo właśnie
Księżyc ziewa i za chwilę zaśnie.
A gdy rano przyjdzie świt
Księżycowi będzie wstyd,
że on zasnął, a nie ty.
W górze tyle gwiazd,
W dole tyle miast.
Gwiazdy miastom dają znać,
że dzieci muszą spać…
Up above, so many stars,
Down below, so many cities.
Stars let the cities know,
That children must go to sleep…
Oh, sleep, my darling.
If you want a star from the sky, you’ll get it.
Let me know what you desire,
I can give you everything.
So why don’t you want to sleep?
Oh, sleep, because it’s night,
When the stars gild the sky,
All the children, even the naughty ones,
Are immersed in dreams,
And only you are not…
Aaah… Aaah…
There were two little kittens.
Aaah… Aaah…
Grayish-brown, both of them.
Oh, sleep, because right now
The moon is yawning and will soon fall asleep.
And when dawn comes in the morning,
The moon will be ashamed
That it fell asleep, and not you.
Up above, so many stars,
Down below, so many cities.
Stars let the cities know
That children must go to sleep…
Ukrainian lullaby: ‘Ааа, kotky dva’
I’ve come across quite a few Ukrainian variations of this particular lullaby. Some versions use the Polish-influenced “shari-buri,” while others the Ukrainian “siri-bili” (the former meaning gray-brown, the latter gray-white).
One of the Ukrainian renditions can be found in the songbook Songs of Galicia, published in Lviv in 1997. The lyrics were documented in 1989 from Kateryna Sus’ (born 1940) in the village of Stilsko, Lviv region.
Below I share a few versions:
Version I
А-а-а, котки два
А-а-а, котки два,
Шарі-бурі обидва.
Один пішов на миші,
Другий дитя колише.
Спи дитино, я колишу,
Як ти заснеш, я тя лишу.
Сама піду на роботу,
Тоді прийду аж в суботу.
Спи, дитино, і вдень, й вночі,
Висипляй си карі очі.
Очі карі, як тернячко,
Личко біле, як сонечко.
Люлі-люлі, люлесеньки,
Зимна роса на пташеньки.
Ще зимніша на діточки,
Що не мають матіночки.
Гойда-гойда, гойдалини,
Підем в гори на малини.
Малинок тих назбираєм,
Зозульок тих послухаєм.
Version I
Ah-ah-ah, two kittens
Ah-ah-ah, two kittens,
Grayish-brown, both of them.
One went after mice,
The other lulls the child.
Sleep, little one, I’ll rock you,
When you fall asleep, I’ll leave you.
I’ll go to work myself,
Then I’ll come back only on Saturday.
Sleep, child, both day and night,
Rest your dear brown eyes.
Eyes brown, like little thorns,
Face white, like the little sun.
Lullabies, lullabies, little swings,
Cold dew on the little birds.
Even colder on the little ones,
Who don’t have a mommy.
Rock, rock, little rocking,
Let’s go to the mountains for raspberries.
We’ll gather those raspberries,
Listen to the cuckoos.
Version II
А-а-а, котів два
А-а-а, котів два,
Сірі, білі обидва.
Сірі, білі, волохаті,
Не ходіте коло хати,
Не будіть нашого дитяти.
У нас дитя маленьке,
Воно спати раденьке.
Хоч раденьке, та не спить,
Треба його дубцем бить.
А хоч треба, та не б’єм.
Малюсіньке — жалуєм.
Version III
А-а-а, коти два
А-а, а-а, котки два,
Сірий-білий обидва.
По коморох ходили,
Діткам кашку варили,
В горщики складали,
Діток годували.
Version II
Ah-ah-ah, two kittens
Ah-ah-ah, two kittens,
Both gray and white.
Gray, white, and furry,
Don’t wander near the house,
Don’t wake our child.
We have a little child,
Who loves to sleep.
Though it loves to sleep, it doesn’t,
We have to tap it lightly.
But though we have to, we don’t,
It’s so tiny – we pity it.
Version III
Ah-ah, ah-ah, two kittens
Ah-ah, ah-ah, two kittens,
Both gray and white.
They wandered around the pantry,
Cooked porridge for the kids,
Put it into pots,
And fed the children.
Wars & Starski Ukrainian translation: ‘А-а-а, kotky dva’
Ukrainians also sing a variation of the Polish Henryk Wars & Ludwik Starski version. It can be found in Plast songbooks in the diaspora (for example, one published in Toronto in 1997).
А-а-а, а-а-а
Були собі котки два
А-а-а, а-а-а
Сірі-бурі обидва
То спи бо власне.
Місяць позіхає, зараз згасне.
А як ранок надійде,
Місяцеві встид буде,
Що заснув він а не ти!
Ah-ah-ah, аh-ah-ah
There were two little kittens.
Ah-ah-ah, аh-ah-ah
Grayish-brown, both of them.
Oh, sleep, because right now
The moon is yawning and will soon fall asleep.
And when dawn comes in the morning,
The moon will be ashamed
That it fell asleep, and not you!
Ukrainian lullaby: ‘Kotyku sirenkyi’
‘Kotyku sirenkyi’ is another very well-known Ukrainian lullaby with a very similar theme to “А-а-а, kotky dva,” about a kitten and a sleeping child.
Котику сіренький, котику біленький,
Котку волохатий, не ходи по хаті,
Не ходи по хаті, не буди дитяти
Дитя буде спати, котик воркотати
Ой на кота на воркота
На дитинку дрімота
(А-а а-а а-а а) …
Kitty gray, kitty white,
Furry kitty, don’t roam the house,
Don’t roam the house, don’t wake the child,
The child will sleep, the kitty will purr.
Oh, the purring kitty,
Lulls the child to sleep,
(Ah-ah-ah-ah…)
Rhyme: ‘A man rode alone on his little horse’
A rhyme can be found in both Polish and Ukrainian about a man riding a horse, sung to child bouncing them on one’s knee: “Jechał Sobie Pan na koniku sam” / “Їде їде пан пан, на конику сам сам” (Jide jide pan pan, na konyku sam sam). The Polish version is known at least from the 1920s.
Polish version: ‘Jechał Sobie Pan na koniku sam’
Ukrainian version: ‘Їде їде пан пан, на конику сам сам’
World War I Songs: Polish Legions / Sich Riflemen
Despite the competitive and often conflicting nature of Polish and Ukrainian political projects in Eastern Galicia during World War I, mutual cultural borrowing thrived. This exchange was facilitated by their shared socio-historical context and the significant role of military formations in shaping the historical memories of both nations. During the war, both Poles and Ukrainians frequently drew from the same musical sources for their military songs, resulting in Polish legionnaires and Ukrainian Sich Riflemen (Sichovi Striltsi) often singing to the same melodies.
‘One, two, three’
A notable example of this musical convergence is a shared melody that also includes the refrain “one, two, three,” which was used in several World War I songs by both Poles and Ukrainians. While there are various theories about the melody’s origins, it is widely believed to have originated from the English song “Mademoiselle from Armentières,” which gained popularity during World War I. This melody itself has roots in older popular songs and was known in the French Army as early as the 1830s. The tune was revived during the Franco-Prussian War of 1870 and again in 1914, when British and Allied soldiers became familiar with it. From there, it spread eastward across Europe, including to Poland and Ukraine.
Interestingly, some Polish sources attribute the melody to a Romanian folk tune, while Ukrainian sources claim it is based on a Hungarian melody.
There are at least four Polish versions of the song: “Ciężkie czasy legionera,” “Jak szło wojsko raz ulicą,” “Dalej, bracia, równym krokiem,” “Hej panienki posłuchajcie.” The Ukrainian versions differ only slightly in their lyrics: “Hey vy khloptsii Sichoviyi,” “Hey vy Striltsi Sichoviyi,” and “Hey vy, khloptis molodiyi.” Additionally, Ukrainians have adapted this melody for a modern Plast song.
Polish versions:
Polish Lwów legion song: ‘Dalij, bracia, równym krokim’
This a march, a song of the Lwów legionnaires, originating in Lviv in the early 20th century.
Dalij, bracia, równym krokim
Raz, dwa, trzy,
Z wielkim sercym, ufnym wzrokim,
Raz, dwa, trzy,
Z silną w sercu wiaru w Boga,
W bój pódziemy, hej, na wroga,
Raz, dwa, raz, dwa, trzy.
Forward, brothers, with steady steps,
One, two, three,
With great hearts and trusting eyes,
One, two, three,
With strong faith in God in our hearts,
Into battle we shall go, hey, against the foe,
One, two, one, two, three.
Polish legion song: ‘Ciężkie czasy legionera’
Alternative name: ‘Ciężkie losy legionera’
According to Biblioteka Polskiej Piosenki, this is an anonymous song that was sung in the 3rd Infantry Regiment in Zegrze in 1917. The song emerged among the legionnaires of Legunia during the repetitive and monotonous process of learning military regulations.
Ciężkie losy legionera,
Raz, dwa, trzy,
Los go gnębi jak cholera,
Raz, dwa, trzy,
Robić dużo, a jeść mało,
Maszerować jak przystało,
Raz, dwa, raz, dwa, trzy.
The tough fate of a legionnaire,
One, two, three,
Fate torments him like hell,
One, two, three,
To do a lot, but eat little,
March as expected,
One, two, one, two, three.
Polish soldier’s march: ‘Jak szło wojsko raz ulicą’
Jak szło wojsko raz ulicą
Raz, dwa, trzy
Ciemna nocka, gwiazdy świecą
Raz, dwa, trzy
A muzyczka pięknie grała,
Aż siostrzyczka się spłakała,
Raz, dwa, raz, dwa, trzy
As the army marched down the street
One, two, three
Dark night, stars shining bright
One, two, three
And the band played beautifully,
Until my sister started to cry,
One, two, one, two, three
Polish legion song: ‘Hej panienki posłuchajcie’
Hej panienki posłuchajcie
Raz, dwa, trzy
I gazetki przeczytajcie –
Raz, dwa, trzy
Są tam ciekawe nowinki,
Będzie pobór na dziewczynki.
Raz, dwa, raz, dwa, trzy
Hey girls, listen up
One, two, three
And read the newspapers –
One, two, three
There are interesting news,
There will be conscription for girls.
One, two, one, two, three
Ukrainian versions:
Ukrainian Sich Riflemen song: ‘Hey vy khloptsii Sichoviyi’
Alternative names: ‘Hey vy Striltsi Sichoviyi’ & ‘Hey vy, khloptis molodiyi’
According to the 1918 song book Сьпіваник Українських Сїчових Стрільцїв, this Sich Riflemen song was written in 1914 by Klym Gutkovskyi.
Гей ви, стрільці січовії,
Раз, два, три,
В наших дівчат серце мліє,
Раз, два, три.
Ви вперед все поступайтесь,
Ні на що не оглядайтесь.
Раз, два, раз, два, раз, два, три.
Hey, you Sich Riflemen,
One, two, three,
In our girls’ hearts you’re winning,
One, two, three.
Step ahead, don’t hesitate,
No need to contemplate.
One, two, one, two, one, two, three.
Another variant that is also credited to Klym Gutkovskyi.
Гей ви, хлопці молодії,
раз, два, три!
Вже вороже серце мліє,
раз, два, три.
На ніщо ми не зважаймо,
Лиш до бою поспішаймо,
Раз-два, раз-два, раз-два, три!
Hey you, young lads,
one, two, three!
The enemy’s heart is already trembling,
one, two, three.
Let’s not pay attention to anything,
Just hurry to battle,
One-two, one-two, one-two, three!
Ukrainian Scouting Song: ‘Nasha kasha taborova’
This newer song based on the Sich Rifleman song was written in the diaspora, likely sometime in the last couple of decades of the 20th century.
Наша каша таборова, раз, два, три!
Дуже смачна і здорова, раз, два, три!
Ми з’їмо її до нитки,
Ще й попросимо репетки,
Раз, два, раз, два, раз, два, три!
Our camp porridge, one, two, three!
Very tasty and healthy, one, two, three!
We’ll eat it all up,
And even ask for seconds,
One, two, one, two, one, two, three!
Sich Rifleman and Polish Partisan Song: A Soldier Headed Off to War
The Second World War also saw song diffusion between Polish and Ukrainian soldiers. In particular, there was significant dissemination among Polish partisans (and others) of a translation of the Ukrainian Sich Rifleman song “Їхав стрілець на війноньку” (“The Rifleman Rode to War”). (Though originally a WWI song, Ukrainians soldiers also sang it during WWII.)
The Polish rendition, titled “Ruszył partyzant do boju” (“The Partisan Moved into Battle”), was preserved among Polish settlers from the village of Stara Huta in Buchach County, Ternopil Oblast. These settlers eventually relocated to western Poland, where the song was recorded in the 1970s by Professor Mykhailo Lesiv. (Різні тексти, спільні мелодії)
Ukrainian Sich Rifleman song: ‘Yikhav strilets na viynonku’
Їхав козак на війноньку:
“Прощай,- сказав,- дівчинонько,
Прощай, миленька, чорнобривенька,
Я йду в чужую сторононьку!
The Sich Rifleman rode off to war:
“Farewell,” he said, “my dear girl,
Farewell, my darling, dark-browed one,
I’m going to a foreign land!
Polish partisan song: ‘Ruszył partyzant do boju’
Ruszył partyzant do boju,
Żegnał swą lubą dziewczynę:
Żegnaj, dziewczyno-czyno,
Żegnaj, jedyno-dyno,
Ja jadę w obcą krainę.
The partisan marched into battle,
He bid farewell to his beloved girl:
Farewell, my active girl,
Farewell, my only one,
I’m going to a foreign land.
Christmas Carol
Many Christmas carols have transcended national borders, with one of the most renowned being “Silent Night” (German: “Stille Nacht, heilige Nacht”), composed in 1818 by Franz Xaver Gruber with lyrics by Joseph Mohr in Oberndorf bei Salzburg, Austria. This iconic carol has been translated into about 300 languages, including Polish and Ukrainian.
Another notable example is the widely recognized “Carol of the Bells,” an English-language Christmas carol adapted from a 1914 composition by Ukrainian composer Mykola Leontovych. Leontovych’s work was inspired by a shchedryk, a traditional Ukrainian folk song celebrating the New Year.
But here is also an example of local diffusion — a carol that “proclaims a miracle,” which likely originated in Poland and subsequently spread locally across cultures to Ukrainians and Belarusians.
‘Proclaiming a miracle, a miracle’
Polish carol: ‘Dzisiaj w Betlejem’
The authorship of both the lyrics and melody is unknown. The text of the song can be found as far back as 1878 in Fr. Siedlecki’s songbook.
Dzisiaj w Betlejem, dzisiaj w Betlejem
Wesoła nowina,
Że Panna czysta, że Panna czysta
Porodziła Syna.
Chrystus się rodzi, nas oswobodzi,
Anieli grają, króle witają,
Pasterze śpiewają, bydlęta klękają,
Cuda, cuda ogłaszają.
Maryja Panna, Maryja Panna
Dzieciątko piastuje,
I Józef Święty, i Józef Święty
Ono pielęgnuje.
Choć w stajeneczce, choć w stajeneczce
Panna syna rodzi,
Przecież On wkrótce, przecież On wkrótce
Ludzi oswobodzi.
Today in Bethlehem, today in Bethlehem,
Joyful news,
That the pure Virgin, that the pure Virgin
Has given birth to a Son.
Christ is born, He will liberate us,
Angels are playing, kings are greeting,
Shepherds are singing, animals are kneeling,
Proclaiming a miracle, a miracle.
Virgin Mary, Virgin Mary,
Holds the little Child,
And Holy Joseph, and Holy Joseph,
Nurtures Him.
Though in a little stable, though in a little stable,
The Virgin gives birth to her Son,
Yet soon He will liberate, yet soon He will liberate
The people.
Ukrainian carol: ‘Nebo i zemlia’
Небо і земля, небо і земля
Нині торжествують.
Ангели й люди, ангели й люди
Весело празнують:
Христос родився, Бог воплотився,
Ангели співають, Царіє витають,
Поклін віддаймо! Пастеріє грають
Чудо, чудо повідають!
Во Вифлеємі, во Вифлеємі
Весела новина:
Пречиста Діва, пречиста Діва,
Породила сина!
Приспів
І ми рожденну, і ми рожденну Богу поклін даймо.
Слава во вишних! Слава во вишних! Йому заспіваймо.
Heaven and earth, heaven and earth
Now rejoice.
Angels and people, angels and people
Celebrate joyfully.
Christ is born, God is incarnate,
Angels are singing, Kings are glorifying,
Let us bow down! Shepherds are playing,
Proclaiming a miracle, a miracle!
In Bethlehem, in Bethlehem,
A joyful message:
The Immaculate Virgin,
Has given birth to a son!
Chorus
And we bow down, and we bow down To the born God.
Glory in the highest! Glory in the highest! Let us sing to Him.
Spotify Playlist
Here is a Spotify playlist with multiple variations of the above mentioned songs.
Sources:
- WikiSpiv: The Ukrainian diaspora music project
- Cyfrowa Biblioteka Polskiej Piosenki
- Різні тексти, спільні мелодії: пісні польських легіоністів та українських січових стрільців
- Był sobie Król – pieśń, tekst, wykonanie
- Piosenki leguna tułacza
- Сьпіваник Українських Січових Стрільців
- Piosenki leguna tułacza
- Relutońskie piosenki obozowe: 1919
- Жартівливі пісні. Родинно-побутові
