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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. arr. Netzky and ‘Klezcorps’) † 12 Flatbush Waltz 6.11 Ale Brider (We Are All Brothers) (Trad. arr. Netzky and ‘Klezcorps’) 13 Wedding Medle y§ 5.04 194.41 14 Dybbuk Shers ‡ 4.46 15 Basarabye * 6.55 ITZHAK PERLMAN violin 16 Firn Di Mekhutonim Aheym § 5.33 Brave Old World (1 –4, 18) · The Klezmatics (5 –9, 18) 17 Tati Un Mama Tants † 5.48 The Andy Statman Klezmer Orchestra (10 –13, 18) 18 Fisherlid ‡ 6.24 The Klezmer Conservatory Band (14 –18) 19 Der Alter Bulgar † 5.50 20 Ale Bride r§ 3.43 21 Honga ‡ 2.47 22 Doyna & Skotshna * 3.31 23 Der Heyser Bulgar § 3.51 24 Di Gayste r‡ 1.39 ITZHAK PERLMAN violin Brave Old World * · The Klezmatics ‡ The Andy Statman Klezmer Orchestra † The Klezmer Conservatory Band § 2 Itzhak Perlman Photo: Clive Barda © ArenaPAL 3 PERLMAN PLAYS KLEZMER & TRADITION This journey into Jewish folk music was not Itzhak Perlman’s first detour from “classical” paths: it sits alongside a selection of Scott Joplin rags (volume 10), two blues albums with André Previn (volume 24) and a disc of jazz melodies on which he duets with Oscar Peterson (Side by Side , Telarc). On the two Perlman plays Klezmer albums, recorded in the mid-1990s, the first in the studio, the second live at New York’s Radio City Music Hall, the violinist revisits the traditional folk music that filled the streets of Tel Aviv in his childhood. His ability to reproduce the characteristic timbres, bowings and fingerings of this age-old and self-taught tradition enables him to put his classical training aside and blend seamlessly with the musicians joining him in the studio and on stage — genuine Yiddish klezmer bands (whose music is an indispensable part of Jewish weddings and bar/bat mitzvahs). Chameleon-like, Perlman changes tone, vibrato and glissando and bowing technique, fully embracing klezmer style while retaining the added dimension and depth of sound that only elite musicians possess. The works recorded here, most of them contemporary, feature the effortless blending of voice and violin with woodwind — clarinet, in particular — accordion or banjo, and offer a fascinating overview of a repertoire which is still very much alive, and whose origins lie in the celebrations and dramas of the thousand-year history of the Jews of Central Europe. Its exhilarating rhythms and heart-rending, soulful melodies are expressed here with formidable authenticity. The performers’ virtuosity and inspiration will captivate both those familiar with this repertoire and those who are just discovering it. This double album is also a worthy memorial of music that is full of warmth and melancholy, the fruit of a tradition long intertwined with that of gypsy music, and whose vibrant, heartfelt language has to be kept alive and passed on to future generations. With hindsight, Tradition , an album Perlman made ten years earlier with the Israel Philharmonic Orchestra, can be seen as a first step in this commemorative process. Many of the melodies included here are genuine folk songs, in that both words and music are anonymous. Others were written in traditional style by artists such as Itzik Manger, Abraham Goldfaden and Mark Warshawsky, for whom that form of expression came as easily as breathing. Arranged and conducted on this album by the Romanian-born Israeli composer Dov Seltzer, these emotive pieces are by turns joyful and extremely moving. Jean-Michel Molkhou Translation: Susannah Howe 4 Perlman Plays Klezmer & Tradition Ce n’est pas la première fois qu’Itzhak Perlman s’offre une escapade loin des sentiers « classiques ». À côté d’un choix de ragtimes de Scott Joplin (volume 10), de deux disques de blues avec André Previn (volume 24) et d’un album en duo avec Oscar Peterson ( Side by Side , Telarc), c’est ici vers le folklore juif qu’il se tourne. Dans les deux albums Perlman Plays Klezmer , enregistrés au milieu des années 1990 — le premier en studio, le second en concert au Radio City Music Hall de New York — Itzhak Perlman renoue avec une tradition folklorique qui baigna son enfance dans les rues de Tel Aviv. Sa facilité à reproduire les timbres, comme les techniques d’archet et de main gauche, si particulières à cette tradition ancestrale d’autodidactes, lui permet de s’intégrer naturellement aux groupes de musiciens qui l’entourent en se débarrassant complètement de ses principes classiques. Tel un caméléon, il change de peau, entendez de timbres, de vibrato, de technique d’archet et de glissandos, pour épouser totalement les manières klezmer, tout en conservant cette dimension de jeu et cette profondeur de sonorité qui n’appartiennent qu’à une élite. Accompagné d’authentiques ensembles de « Klezmer » (ces musiciens yiddish qui animent mariages et bar-mitzvah), le mélange habile de la voix et du violon aux sonorités des vents — notamment de la clarinette —, de l’accordéon ou du banjo, donne à travers ces pièces, pour la plupart contemporaines, un fantastique panorama sur un répertoire toujours vivant qui puise ses sources dans les fêtes et les drames de mille ans d’histoire des juifs d’Europe centrale. Ces rythmes ivres de joie comme ces déchirantes mélodies, venues du plus profond de l’âme, s’expriment ici avec une formidable authenticité. La virtuosité et l’inspiration des interprètes fascineront aussi bien les familiers de ce répertoire que ceux qui le découvriront. Beau travail de mémoire, tant on sent chez les Klezmer, chaleureux et poignants, le devoir essentiel de perpétuer des traditions qui rappellent par bien des points celles des tziganes, et de transmettre par-delà les générations ce langage vibrant qui est avant tout celui du cœur. Avec le recul du temps, l’album Tradition , réalisé dix ans plus tôt avec l’Orchestre Philharmonique d’Israël, se révèle avoir été un premier pas dans cette démarche de mémoire. Bon nombre de ces mélodies sont de véritables chants populaires, au sens où les auteurs des paroles comme de la musique en sont inconnus. D’autres furent écrites dans une veine populaire par des artistes, tels Itzik Manger, Abraham Goldfaden ou Mark Warshawsky, pour lesquels l’expression populaire était aussi naturelle que de respirer. C’est sous la direction de leur arrangeur, le compositeur israélien d’origine roumaine Dov Seltzer, que ces pièces sont ici présentées, pour offrir de grands moments d’émotion et de bonheur. Jean-Michel Molkhou 5 Perlman Plays Klezmer & Tradition Dies ist nicht das erste Mal, dass Itzhak Perlman sich auf einen Ausflug fernab der “klassischen“ Pfade begibt. Zusätzlich zu den Ragtimes von Scott Joplin (Album 10), zwei Blues-CDs mit André Previn (Album 24) und einem Album voller Duette mit Oscar Peterson ( Side by Side , Telarc) wendet er sich hier der jüdischen Folklore zu. Auf den beiden Alben Perlman Plays Klezmer , die Mitte der 1990er Jahre aufgezeichnet wurden — das erste im Studio, das zweite beim Konzert in der New Yorker Radio City Music Hall — knüpft Itzhak Perlman an eine Folkloretradition an, die in seiner Kindheit die Straßen Tel Avivs prägte. Die Leichtigkeit, mit der er Klangfarben reproduziert sowie Techniken des Bogens und der linken Hand aufgreift, die für diese altüberlieferte autodidaktische Tradition typisch sind, erlaubt es ihm, sich ganz natürlich in die ihn umgebende Musikergruppe zu integrieren und seine klassischen Prinzipien völlig abzulegen. Chamäleonartig passt er Klangfarben, Vibrato, Bogentechnik und Glissandi an den Klezmer- Stil an, ohne jedoch jemals jene Spieldimension und Klangtiefe einzubüßen, die ausschließlich den besten Interpreten vorbehalten sind. Unter der Mitwirkung authentischer Klezmer-Ensembles (jiddische Musiker, die bei Hochzeiten und Bar-Mitzwas spielen) bieten diese größtenteils modernen Stücke mit ihrer virtuosen Mischung aus Gesangsstimme und Violine mit Bläserklängen — insbesondere Klarinette —, Akkordeon oder Banjo einen herrlichen Einblick in ein quicklebendiges Repertoire, dessen Wurzeln in den Feiern und Dramen der tausendjährigen jüdischen Geschichte in Mitteleuropa liegen. Die freudentrunkenen Rhythmen und mitreißenden Melodien, die dem tiefsten Seelengrund entsprungen scheinen, kommen hier mit herrlicher Authentizität zum Ausdruck. Die Virtuosität und Inspiration der Interpreten werden gleichermaßen jene Hörer faszinieren, die bereits mit diesem Repertoire vertraut sind, wie auch diejenigen, die es gerade erst entdecken.
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