The lyrics, score, parts, and associated material are available online in the Yiddish Theater Digital Archives. The orchestra plays the "Dana Dana" melody at several points in Esterke. Secunda wrote "Dana-" for the orchestral score and "Dana Dana" for the vocal scores. The Yiddish text was written with Roman alphabet. He wrote for the choral score "andantino" somewhat slowly and "sempre staccato" play staccato always. The melody of the introduction was also used at the end of the song. He wrote "piu mosso" more rapidly for the refrain and some passages that emphasize the winds. First, a woman Secunda wrote "she" sings four bars and then the man Secunda wrote "he" sings the next four. They sing together from the refrain. The melody is refrained.
Later, Troyke joined this performance, replacing the records with himself singing Yiddish folk songs. After the Berlin Wall fell, he worked in a Berlin theatre doing musicals in Yiddish. Troyke participated in radio plays, worked as a voice-over and dubbing artist, recorded several German song albums, as well as Yiddish albums. Troyke considers that in the differences between Jewish and non-Jewish reception of Jewish music in Germany, he forged his own path without religion, without feelings of guilt, focused on Jewish culture. How old were you when you first started showing musical promise? What did your parents do about it? You and I were both born on August Do you find that to be true? Your father managed jazz musicians.
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But my relationship with him is worth this small sacrifice. When I acquired a personal testimony of the gospel as a teen, and made my own decisions regarding my faith, I felt very alone. I wish I had not ignored the signs whiles we dated but now I am out of energy. I wish you all well on your recovery from this particularly vile church.