The Klezmer Shul to Be Presented by Veretski Pass in February
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Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
The Klezmer Influence in Paul Schoenfield's Klezmer Rondos
THE KLEZMER INFLUENCE IN PAUL SCHOENFIELD’S KLEZMER RONDOS Mark Trimble, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2011 APPROVED: Mary Karen Clardy, Major Professor Dennis Fisher, Minor Professor Don Taylor, Committee Member Lynn Eustis, Director of Graduate Studies in the College of Music John Holt, Chair of the Division of Instrumental Studies James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Trimble, Mark. The Klezmer Influence in Paul Schoenfield’s Klezmer Rondos. Doctor of Musical Arts (Performance), December 2011, 43 pp., 24 figures, bibliography, 17 titles. Paul Schoenfield’s Klezmer Rondos is a work for flute, male vocalist, and orchestra revised in 1994 according to the score given to me by the composer. A review of current research in klezmer heritage music is the starting point to place Klezmer Rondos in the context of art music infused with klezmer flavor. Klezmer music can be defined as the instrumental folk music of Eastern European Jews, however because of its adaptability and quality of assimilating other cultures within it, this heritage music is constantly in flux. By looking at the research in this field, I describe how the sound of klezmer music has evolved and how popular notions have been formed. The body of this research explores the main musical aspects of Klezmer Rondos that can be tied to the klezmer tradition: scales and thematic materials, improvisatory elements, ornamentation, and instrumentation. Klezmer Rondos moves beyond a simple arrangement of vernacular music for orchestra; it is a fusion of contemporary art music with the elements of klezmer style. -
825646078936.Pdf
ITZHAK PERLMAN LIVE IN THE FIDDLER’S HOUSE plays familiar Jewish melodies arranged by Dov Seltzer 25 Bukovina 212 (Trad. arr. Alpert/Bern) 4.30 1 A Yiddishe Mamme 6.48 26 Lekho Neraneno (Trad. arr. Brave Old World) 5.00 2 As der Rebbe Elimelech is gevoyrn asoi freylach * 5.51 27 Doina Naftule (Trad. arr. Bjorling) 2.43 3 Reyzele * 4.10 28 A Hora mit Branfn (Trad. arr. Bjorling) 3.24 4 Oif’n Pripetchik brennt a feier’l 4.05 29 Healthy Baby Girl (Suigals) 2.16 5 Doyna * 3.39 30 Golem Tants (London) 1.49 6 Rozhinkes mit Mandelen 5.37 31 Honga Encore (Trad. arr. London) 1.35 7 Oif’n Weyg steyt a Boim 5.25 32 Nign (Sklamberg) 5.31 8 A Dudele * 4.50 33 Bulgars/The Kiss (Trad. arr. The Klezmatics/London) 5.07 9 Viahin soll ich geyn? 4.54 34 Meton Nign/In the Sukke 6.02 35 Sholom Aleykhem 4.33 36 Khaiterma 2.55 ITZHAK PERLMAN violin 37 Andy’s Ride 2.55 ISRAEL ZOHAR clarinet* 38 A Heymischer Bulgar/Wedding Dance (Trad. arr. Ellstein) 3.14 Israel Philharmonic Orchestra/Dov Seltzer 39 Kale Bazetsn (Seating the Bride)/Khusidl (Hasidic Dance) 4.30 (Trad. arr. Tarras) 40 Fun Tashlikh 3.01 IN THE FIDDLER’S HOUSE 41 A Yingele fun Poyln (A Young Man from Poland)/ 4.59 Di Mame iz Gegangen in Mark Arayn (Mother Went to Market) 10 Reb Itzik’s Nign * 6.01 42 Processional — (Trad. arr. Netzky and ‘Klezcorps’) 12.16 ‡ 11 Simkhes Toyre Time 3.22 Klezmer Suite — (Trad. -
SMU Hosts 9Th Annual Judaic Institute Christian Response to Riots
- ....,, ****~*******************5-DIGI- 02906 2:3g _1/30128 ** ~L R.I. ~EW!SH HIS-ORICA~ ASSJCIATJON :3C SESSIO!"S ST. Inside: Local News, pages 2-3 ~~CVIDENC~ ;r )i906 Opinion, page 4 Around Town, page 8 THE O.\L Y E.'\'GUSH-JEWISH WEEKLY IN R.I. AND SOCTHEAST MASS VOLUME LXXV, NUMBER 30 THURSDAY, JUNE 23, 1988 SMU Hosts 9th Annual Judaic Institute by David DeBlois expressed com.. ern over the restric ou r sanity in the world. Sometimes t ion of fr ee speech in academia im we tend l o take ourselves tuo seri On .June H). the 9th Annual .Ju plied by the incident. However. he ously.'' cb i(· Instit ute at Southeastern dow nplayed its significa nce in na- However, t he Rabbi's eloquence Massachusett s Univt>rsit y wrapped 1i onal black/.Jewish relations. say wa s never more evident than when up its !'"1-day examination of the inK it did '" li ttle harm, but little he re lated a story to illustrate how quest inn " \Vhat Is A ,Jew'!" at the help, either." wo rking to become a better indi Co ll ege of Liberal Arts and Bus i (;Jassman praised Lester's ad vi dual helps not only one's fe llow ness. Hahhi Bernard Glassman. dress and thanked him for his con -Jews, but all of mankind: Co-Direl'tor of the SMU Center for tribution to I he conference, and "A father cuts up a picture of the ,Jewish Culture. dosed the µrogram added. ··.Judaism is not. part o f any world and shuflles the pieces. -
Concert & Dance Listings • Cd Reviews • Free Events
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 4 Number 6 Nov-Dec 2004 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Music and Poetry Quench the Thirst of Our Soul FESTIVAL IN THE DESERT BY ENRICO DEL ZOTTO usic and poetry rarely cross paths with war. For desert dwellers, poetry has long been another way of making war, just as their sword dances are a choreographic represen- M tation of real conflict. Just as the mastery of insideinside thisthis issue:issue: space and territory has always depended on the control of wells and water resources, words have been constantly fed and nourished with metaphors SomeThe Thoughts Cradle onof and elegies. It’s as if life in this desolate immensity forces you to quench two thirsts rather than one; that of the body and that KoreanCante Folk Flamenco Music of the soul. The Annual Festival in the Desert quenches our thirst of the spirit…Francis Dordor The Los Angeles The annual Festival in the Desert has been held on the edge Put On Your of the Sahara in Mali since January 2001. Based on the tradi- tional gatherings of the Touareg (or Tuareg) people of Mali, KlezmerDancing SceneShoes this 3-day event brings together participants from not only the Tuareg tradition, but from throughout Africa and the world. Past performers have included Habib Koité, Manu Chao, Robert Plant, Ali Farka Toure, and Blackfire, a Navajo band PLUS:PLUS: from Arizona. -
To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Marissa Gogan Thesis Submitted to the Faculty Of
To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Marissa Gogan Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In History David P. Cline, Co-Chair Brett L. Shadle, Co-Chair Rachel B. Gross 4 May 2016 Blacksburg, Virginia Keywords: Identity, Klezmer, Jewish, 20th Century, Folk Revival Copyright 2016 by Claire M. Gogan To Play Jewish Again: Roots, Counterculture, and the Klezmer Revival Claire Gogan ABSTRACT Klezmer, a type of Eastern European Jewish secular music brought to the United States in the late 19th and early 20th century, originally functioned as accompaniment to Jewish wedding ritual celebrations. In the late 1970s, a group of primarily Jewish musicians sought inspiration for a renewal of this early 20th century American klezmer by mining 78 rpm records for influence, and also by seeking out living klezmer musicians as mentors. Why did a group of Jewish musicians in the 1970s through 1990s want to connect with artists and recordings from the early 20th century in order to “revive” this music? What did the music “do” for them and how did it contribute to their senses of both individual and collective identity? How did these musicians perceive the relationship between klezmer, Jewish culture, and Jewish religion? Finally, how was the genesis for the klezmer revival related to the social and cultural climate of its time? I argue that Jewish folk musicians revived klezmer music in the 1970s as a manifestation of both an existential search for authenticity, carrying over from the 1960s counterculture, and a manifestation of a 1970s trend toward ethnic cultural revival. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age. -
Klezmerquerque 2014 February 14Th-16Th, 2014
KlezmerQuerque 2014 February 14th-16th, 2014 R2G Klezmer Trio: Dr. Joel Rubin (clarinet & ethnomusicologist- Charlottesville/Switzerland), Pete Rushefsky (Tsimbalom/Eastern European hammered dulcimer-NYC), & Steven Greenman (violin, vocals & award- winning composer-Cincinnati) R2G is a dynamic new trio formed by longtime stars of the klezmer revival, Joel Rubin (clarinet), Pete Rushefsky (tsimbal /hammered dulcimer), and Steve Greenman (violin). R2G performs original compositions and improvisations in addition to their own arrangements of the classic East European Jewish instrumental klezmer music and mystical hasidic nigunim (melodies of spiritual elevation). With its virtuosic style and sumptuous, richly ornamented sound, their music is at once a meditation on the Russian-Jewish musical legacy and an expansion of it into the present. The trio also experiments with extended structures, such as "concert form klezmer" suites that meld the traditional klezmer genres with Ottoman Turkish concepts of art music for listening. The concert form expands the expressive possibilities of klezmer music and provides a pathway for the musicians to create performances that develop more extended musical narratives. But the group can cut it up on the dance floor as well. "Inspiring, jaw-dropping and foot stomping," raved Beth Cohen, director of the annual KlezmerQuerque Festival. List to the trio: Beregovski Shers (trad.) Ahavas Oylom (Greenman) Bay di toyren fun beys-hamikdosh (trad.) Peshrev (Rushefsky) Tish Nign (trad.) Nign for Sabbath and Holidays Joe Rubin Joel Rubin has been one of the leading figures in the international klezmer movement as performer, scholar, author and educator for the past thirty years, earning accolades from sources as diverse as klezmer giants Dave Tarras and Max Epstein, international clarinet soloist Richard Stoltzman, avant garde composer John Zorn, and Nobel Prize Laureate and poet Roald Hoffmann. -
Extending the Tradition: Klezkanada, Klezmer Tradition and Hybridity
Extending the Tradition: KlezKanada, Klezmer Tradition and Hybridity MIKE ANKLEWICZ Abstract: This paper examines the way in which klezmer revival institutions, particularly KlezKanada, contradict many of the notions that are generally held of revival movements. Both historical klezmer music and its revival have long histories of incorporating musical styles both of other minority groups, as well those of the dominant majority culture. This paper shows how the communities created within the klezmer revival are constantly recreating their “tradition,” and are responsible for an environment in which musical experimentation is not only accepted, but valued. Résumé : Cet article examine la manière par laquelle les institutions de renouveau du klezmer, en particulier KlezKanada, contredisent nombre des idées que l’on se fait en général des mouvements de revival. La musique historique klezmer et son renouveau ont tous deux de longues histoires d’incorporation de styles musicaux, tant des autres groupes minoritaires que de ceux de la culture majoritaire dominante. Cet article montre comment les communautés qui se créent au sein du revival du klezmer recréent constamment leur « tradition » et sont responsables d’un environnement dans lequel l’expérimentation musicale est non seulement acceptée, mais valorisée. n today’s international klezmer scene, there has been a wide proliferation Iof klezmer fusions. These hybrids, which blend an ever-expanding array of musical styles and genres with klezmer, defined here as Eastern-European Jewish instrumental celebratory music, are notable because they are being encouraged by the scene’s formal institutions (festivals and workshops). These new interpretations of klezmer exist in a dialectical relationship to the music’s own history. -
Hungarian Studies
HStud 22 (2008)1–2, 63–76 DOI: 10.15566/HStud.22.2008.1–2.5 IF THE TUNE IS JEWISH, WHY IS THE STYLE HUNGARIAN? JOSHUA HOROWITZ Madison, CT USA Within the past fifteen years, the klezmer (East European instrumental Jewish Mu- sic) music scene has included music of Transylvania (usually Kalotaszeg) that is stylistically specific to that region, even when the tunes played are considered Jew- ish. Popular groups such as Muzsikás and Di Naye Kapelye have circulated and popularized a limited standard repertoire, which has served partially to redefine what were formerly considered the elements of klezmer style. Motivations for the dissemination of this sub-trend are at the same time musical, commercial, academic and ideological. The needs of presenters and venues to vary their music programs has further aided in the dissemination of the sub-trend. The results have inspired some participants of klezmer music to observe what makes their music ethnically specific and to critically re-examine the tenets on which historical assumptions are made. Keywords: Klezmer, dance house, táncház, folklore revival, folk music, Transyl- vania, Hungarian, East European instrumental Jewish music, Jewish style, Kalota- szeg, Muzsikás, Di Naye Kapelye, sub-trend Since the mid 1990s music has been introduced into the Klezmer scene from the regions of Maramurep and Kalotaszeg.1 Following the lead of the Táncház2 (dance house) Movement of Hungary, first non-Jews, then later Jews began to re- define what were formerly considered the stylistic and repertoire parameters of Klezmer music. If we contextualize these processes historically and then pose questions as to what is accurate in the relationship between the promotion and ac- tual content of the promotion of the participants involved, we can come closer to an understanding of their function in both the Klezmer and dance house scenes. -
Instrumental
INSTRUMENTAL 1022 Absolute Beginners Series 1038 Instrumental Solo Collections 1020 All About Series 1028 Jazz Instruction 1067 Anglo Music Original Collections 1021 Julie Lyonn Lieberman 1034 Artist Transcriptions 1068 Master Solos 1096 Bass 1074 Music Minus One 1105 Bassoon 1023 A New Tune a Day Series 1026 Berklee Practice Method 1109 Oboe 1037 Big Band Play-Along 1070 Orchestra Musician’s CD-ROM Library 1036 Claude Bolling 1018 Play Today! Series 1129 Brass 1112 Recorder 1110 Saxophone 1140 Canadian Brass 1068 Schott Original 1072 CD Sheet Music Instrumental Play-Alongs 1093 Cello 1079 Solos for Instrumental Players 1106 Clarinet 1024 Step One Series 1041 Classical Play-Along 1081 Strings 1005 Cookbook Series 1010 Student/Parent Resources 1016 Correlated Collections for Band 1004 Teaching Music Series 1017 Correlated Collections for Strings 1000 Theory & Instruction 1066 Curnow Original Music 1021 The Tipbook Series 1006 Director Resources 1129 Transcribed Horns 1008 Small Ensemble Music Resources 1137 Trombone 1009 Wind Band Biographies 1130 Trumpet 1027 Essential Elements for Jazz 1138 Tuba 1012 Essential Elements 2000 for Band 1026 A Tune a Day Series 1014 Essential Elements 2000 for 1092 Viola Strings 1081 Violin 1139 Euphonium 1091 Violin Play-Along 1097 Flute 1069 John Williams 1078 G. Schirmer Instrumental Library 1097 Woodwinds 1011 Hal Leonard Pocket Resources 1096 Harp 1138 Horn Also see the Hal Leonard Instrumental Catalog for large ensemble works. 1016787 9 Instrumental_NU.indd 999 12/6/11 11:00 AM 1000 ThEoRy & INSTRUcTIoN ALL ABOUT MUSIC THEORY MORE BASICS BERKLEE by Mark Harrison IN RHYTHM MUSIC THEORY Please see the “All About” series feature for by Garwood Whaley Book 1 – a complete description. -
CD Review: Veretski Pass with Joel Rubin / Poyln: a Gilgul
People | Bands | Album Reviews | Sources | Classifieds | other klezmer articles on the Internet | Contact Me Search the KlezmerShack: Veretski Pass with Joel Custom Search Rubin / Poyln: A Gilgul Note that the latest stuff may Review | Personnel | Songlist not yet be indexed. Veretski Pass with Joel Rubin / Poyln: A Gilgul For further Golden Horn Records, GHP-040- information about 2, 2015 Veretski Pass: www.goldenhorn.com Available in the US from Don't miss cdbaby.com Veretski Pass' first album (2004) their live Oh, my. Take one of my favorite bands, Veretski second album, Pass. It already contains three of the most Trafik, 2008, or The Klezmer experienced, skilled, and expressive klezmer Shul (2011). musicians in the world. Add in Joel Rubin, one of their few compatriots about whom the same could be Cookie Segelstein said. Rubin and tsimbalist Horowitz toured together is also a member of the Klezical in the mid-90s, and also spent considerable time in Tradition and the field, gathering the shards of what survived the appears on the Holocaust. Rubin and Brotman were half of the following albums seminal klezmer revival band, Brave Old World. reviewed on the Klezmershack: Professor Rubin is an acknowledged scholar of Polish Jewish music, something that has evolved The more slowly following the murder of most of the Klezical Tradition / Polish Jewish community in the Holocaust. If you Family are klezmorim, there is an obvious response. Gather Portrait, 1998 old Polish urban and rural music. Mix in what you Adrianne learned from your own and your colleagues Greenbaum ethnographic recordings and field research.