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S I R B A O C T E T ©Alix Laveau Yiddish Rhapsody presents a range FROM DONA DONA TO of music including traditional folk, QUENTIN TARANTINO jazz, bolero, rock and musical YI theatre favourites. By turns poetic, New and original arrangements of tender, touching and funny the Yiddish melodies in a variety of show is an incredible ode to life. styles form the backbone of the show. By turns poetic, tender, D DI YIDDISH IN ALL ITS touching and funny, it is a VARIETY wonderful ode to life. Sirba Octet, orchestra and Isabelle Georges Yiddish Rhapsody presents an perform at times separately at H eclectic, original and celebratory times as a full ensemble creating mix of instrumental music and balance and contrasting musical songs. Unusually, the Sirba Octet is moods. joined by a full symphony RHA orchestra and Isabelle Georges, a This one-off show offered a major personality of musical unifying and heart-felt range of theatre who sings in Yiddish. music including the inspiring and profound Dona Dona, the PSO In 2009, at the request of the impassioned Misirlou, popularised Orchestre de Pau – Pays de Béarn by Quentin Tarantino in Pulp conducted by Faycal Karoui, Fiction, the nostalgia of Yingele Isabelle George and Richard nit veyn, the Sirtaki version of A D Y Schmoucler created Yiddish Keshenever and energetic Rhapsody to capture the essence of orchestral pieces Yiddish the legendary music cherished by Charleston and Beltz. In Eastern European Jewish combination with the skill and communities. The show was expertise of the Sirba Octet and arranged by Cyrille Lehn. Isabelle Georges, these traditional folk songs are truly refreshed and reformulated. Yiddish Rhapsody’s originality comes from its staging. The Sirba Octet form a core chamber orchestra – a piano, two violins, a clarinet, a viola, a double bass, a cello and a cymbalum. Surrounding them is an orchestra of 48 musicians. At the front of the stage is Isabelle Georges singing and tap dancing! Yiddish Rhapsody Sirba Octet www.sirbaoctet.com PROGRAM THE MUSICIANS Kolomishka /Zing bruder zing, Isabelle Georges singing & tapes YI traditionnal repertory Isabelle Georges, Sirba Octet and Orchestra The Sirba Octet DDI Mayn libe Tokhter, Abe Ellstein, Richard Schmoucler violin 1 Lyrics Jack Laurence et Dorothy Collins Isabelle Georges and Sirba Christian Brière violin 2 Octet H Yingele nit veyn, Abe Ellstein, David Gaillard viola lyrics Jacob Jacobs, Isabelle Georges and Orchestra Claude Giron cello Yiddish Charleston, Dave Tarras/ Bernard Cazauran bass RHA traditionnal repertory, Orchestra Philippe Berrod clarinet Leyg dayn kop, Leibu Levin / Iurie Morar cymbalum H.Leivick, Isabelle Georges and PSO piano Christophe Henry piano Doina, Ca la Breaza, traditionnal repertory, Sirba Octet Orchestra D Y Medley : Shtetl Nicolaev, traditionnal repertory /Zapozkelekh, traditionnal repertory /Dona Dona, Arrangements : Cyrille Lehn David Medoff, Sirba Octet Duration : 1h45 (Without Oy, Vyokh’ Tyokh’ Tyokh, intermission) traditionnal repertory, Isabelle Georges and Orchestra Misirlou, traditionnal repertory, Sirba Octet, Orchestre, percussion Ven der regen, Efim Chorny, lyrics Mendl Lifshits, Isabelle Georges and Sirba Octet Medley : Galitsianer tanz, traditionnal repertory / Mayn shtetele Beltz, traditionnal repertory / Chiribim, traditionnal repertory, Orchestre Momele M.Parish / A.Alstone / A.Goodhart, Sirba Octet and Orchestre A keshenever, traditionnal repertory, Isabelle Georges and Sirba Octet Medley : Freyt sich, Naftule Brandvein /Lekhaim, traditionnal repertory /Ketsele baroiges, traditionnal Yiddish Rhapsody repertory, Sirba Octet Sirba Octet www.sirbaoctet.com Bay mir bistu Sheyn Sholom Secunda, Isabelle Georges, Sirba Octet and Orchestra When violinist Richard Schmoucler The Sirba Octet continued to work founded the Sirba Octet in 2003, with Isabelle Georges on Yiddish he created an entirely new sound. Rhapsody, a show based on With arrangers Cyrille Lehn and traditional Yiddish music but Yann Ollivo, five fellow musicians accented with elements of jazz, from the Orchestre de Paris, a salsa, musicals, rock and samba. pianist and a cimbalom player, he Commissioned by the Orchestre de T H E formed a unique ensemble with a Pau Pays de Béarn, conducted by fresh perspective on klezmer, Fayçal Karoui, Yiddish Rhapsody Yiddish and gypsy music. was unique in its staging of the octet alongside a 50-piece EN orchestra and was therefore able to In collaboration with the Orchestre perform orchestral as well as de Paris, the Sirba Octet performed chamber music. The show became Un violon sur les toits de Paris, (A their third album with Naïve, and SEM fiddler on the rooves of Paris), at was performed with the Orchestre the Théâtre Mogador, a concert Lamoureux at the Théâtre des which they developed into their Champs-Élysées, the Orchestre de first acoustic album, A Yiddish Trier in Germany, the Liège Royal BL Mame, released in 2005 under the Philharmonic, the Tonkustler label Ambroisie (Naïve). With Orchester at Festspielhaus and at Slavic and Yiddish nuances, this Musikverein in Vienna. anthology of Eastern European E melodies is drawn from Their albums have received critical Schmoucler’s own memories of acclaim in the press, winning happy family gatherings. notably a ‘10 de Répertoire- Classica’ for Du Shtetl à New York, SIGNIFICANT ARTISTIC the European Association for PARTNERSHIPS Jewish Culture prize and a Choc de Classica for Tantz! The group was also the subject of a documentary In 2007, as part of the Festival by Alain Duault for France 3 d’Île-de-France, the Sirba Octet entitled A day with the Sirba Octet worked with Isabelle Georges, the and Isabelle Georges. In 2011 the multi-talented singer, dancer and Sirba Octet and Isabelle Georges actress known as a ‘triple threat’, to were selected by the Victoires de la produce Du Shtetl à New York. An Musique Classique to appear array of music from the shtetl and alongside the Orchestre des Pays standards from the golden age of de la Loire conducted by John American musical theatre, via jazz, Axelrod. ragtime and lullabies composed by second generation immigrants, the show charts the journey made by Appearing regularly at leading millions of Eastern Europeans festivals in France and abroad, the from their shtetls, or villages, to Sirba Octet have performed at New York, melting pot of musical many prestigious venues including influences from all over the world. the Théâtre des Champs-Élysées, The show was inspired by Fabienne the Concertgebouw in Amsterdam Rousso-Lenoir’s documentary Du and Musikverein in Vienna with Shtetl à Broadway and celebrates longer runs at Théâtre Mogador, heredity and inheritance, an l’Européen, La Cigale et à l’Espace important foundation of the Pierre Cardin à Paris. In 2012, they Yiddish community. took part in the Festival Radio Classique at the Olympia with Isabelle Georges and, in 2013, they appeared at Musiques en fête aux Chorégies d’Orange which was broadcast live on France 3. Yiddish Rhapsody Sirba Octet www.sirbaoctet.com Thanks to their talented arranger LATEST RELEASE – TANTZ ! Cyrille Lehn, the Sirba Octet are constantly enriching their In October 2015, the Sirba Octet T H E repertoire, adding pieces that range released their fifth album Tantz! on from the most famous to the lesser La Dolce Volta record label. In known. Lehn worked with the November 2015, following the group on a project for which they album release, the group gave five EN were joined for the first time by concerts at l’Espace Pierre Cardin. Catherine Lara. This new Tantz! is a journey into music you adventure led to the album Au can dance to, led by the masterly cœur de l’âme Yiddish (The Spirit musicians of the Sirba Octet and SEM of the Yiddish), released on Sony in their exceptional rendition. This November 2012. Captivated by remarkable ensemble, midway their world, Catherine Lara chose between classical and klezmer eight of her most acclaimed pieces music, has revived the traditional BL to record with the Sirba Octet. In music of Eastern Europe, creating April 2013, they performed the new arrangements based on the album live for two concerts at principals of more scholarly music. l’Alhambra in Paris. E This musical masterpiece lets you Sirba Octet’s orchestral show was wander through doina, hora, sirba one of the highlights of their 2015 and other klezmer and gypsy style season. For Sirba Orchestra! they dances. Linking Romania, once again worked with the Moldova, Russia and Hungary, Orchestre de Pau Pays de Béarn Tantz! makes an expressive conducted by Fayçal Karoui with a journey, flitting across borders and guest appearance from Nicolas expanding horizons. The great, Kedroff, the talented balalaika iconic violinist Ivry Gitlis wrote a player. The show comprised a foreword for the album and series of performances at the Palais endorses the project. Beaumont in Pau in June 2015 that were broadcast live on Radio CLASSICAL WORLD MUSIC Classique. Focussing on Yiddish and Slavic music, the show is a window on the lively and moving The vigour, intensity and musical traditions of Eastern originality of the Sirba Octet’s Europe. The group will take the arrangements bring to life the show to the Orchestre de Bretagne familiar tunes of Eastern Europe – and the Orchestre Royal a body of music characterized by Philharmonique de Liège in 2017. the wanderings of a whole population, in which sentiment and creative flair are bound together. Unparalleled outside of the conventional circuit, the group skilfully unite genres and combine both orchestral and chamber music. Sirba Octet’s unique vision puts them in their own league as they pioneer a new genre – Classical World. Yiddish Rhapsody Sirba Octet www.sirbaoctet.com ISABELLE GEORGES RICHARD SCHMOUCLER Singing & tapes Violin & artistic director TH E Member of the Orchestre de Paris since 1998, Richard Schmoucler trained at the Conservatoire Isabelle grew up in Paris listening to her mother’s vocal de Paris under Gérard Poulet, Maurice Moulin, exercises, her grandmother’s scales and the marvellous Devy Erlih and Alexis Galpérine for violin and stories that her father told her.
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  • 04 Paris Blues Review-Edited

    04 Paris Blues Review-Edited

    Journal of Jazz Studies no. 10, no. 2, pp. 203-209 (Winter 2014-2015) (Un) Cool Cats: Challenging the Traditional View of the French Response to Jazz Merve Fejzula Paris Blues: African American Music and French Popular Culture, 1920-1960. By Andy Fry. Chicago and London: University of Chicago Press, 2014. 304 pp. $30.00. When jazz was the existentialist accessory of the postwar fifties, it seemed, according to James Baldwin, the very first question on a Frenchman’s lips upon meeting an African American was always, “Jouez-vous la trompette?” So much was this the habit (and he was not alone in identifying it) that Baldwin once joked if he were to write a memoir of those years it would be titled, “Non, nous ne jouons pas la trompette.”1 Such essentialization was certainly not an invention of the postwar decade and the anecdote is an example of the difficulty, as Andy Fry has convincingly demonstrated in Paris Blues: African American Music and French Popular Culture, 1920-1960, with the notion that the French were sophisticated appreciators of jazz and African American performance. Using a variety of source material which he scrutinizes in often creative ways, Fry demonstrates that so many assumptions about black performers in France and in Europe are deeply problematic: that they received an early and welcome reception there, that jazz was bound up intimately with the history of the Resistance, and that African Americans did not experience racism in France. Of course the more complex story of African Americans in France is one not only of racial essentialization, but includes the usual culprits that scholars of the period have identified: exoticism, paternalism, primitivism, fetishism.2 1 Quoted in James Campbell, Exiled in Paris: Richard Wright, James Baldwin, Samuel Beckett and Others on the Left Bank (New York: Scribner, 1995), 103.