La serena + Non me lleves tú al muelle (Dame la mano palomba, Dame la mano palambo)

This song combines different stanzas of mostly modern Spanish origin generally known in the Ladino repertoire as La serena (Pedrosa 1995). The two opening strophes, El nido de la paloma and La torre en el mar, appear in Spanish rounds and dances. The fifth stanza in Haim's version (La serena, after which the whole sequence is identified) has been documented in Andalusia as a Flamenco canción and in the Canary Islands as a folía (dance with castanets). The three other strophes (3, 4, and 6) were almost not perpetuated in oral tradition, but were partially included in Güerta de cantes (printed by Meshulam and Bakhar, Istanbul, 1910) and may stem from the modern Spanish repertoire too. Haim's version, on the other hand, does not include the sequence of strophes titled La mar y yo (opening with the verse: "Si la mar era de leche"), which appears in most modern versions of La serena (see Attias 1972, no. 4; Hemsi 1995, no. 81). The normative Castilian pronunciation of words like "hija" and "barajas" discloses the modern Spanish influence. Furthermore, the contrast between the measured interludes of the 'ud and the very rubato singing of the stanzas by Haim suggest an inspiration of flamenco performance practices.

Dame la mano, palomba
para subir al tu nido.
Maldicha que durmes sola,
vengo a durmir contigo.

En la mar hay una torre,
en la torre hay una ventana,
en la ventana hay una hija
que a los marineros ama.

Te quiría y non pensi
a tu rama a tu sueño.
Siempre jugas dos barajas
y a la fin sales periendo.

Non me lleves tú al molle
a las duce de la noche.
A la luz de las farolas
todo el mundo me conocen.

Esta serena esta loca,
quere que la quera yo.
Que la quera su marido
que tiene la ubligación.

Cuatro y las lleva el molle
y cuatro la capitala.
Adios, antañosa niña,
alma di mi corazón.