Jazzsight.com brings you insightful biography and amusing jazz anecdotes. A collection of 27 of the most common and highly used chord progressions for guitar players. Klezmer - Wikipedia. Klezmer. Stylistic origins. Developed in Southeastern Europe, influenced mostly by Romanian music (predominantly from Moldavia, particularly Bessarabia and the Romanian part of Bucovina); Greek, Ukrainian, Polish, Hungarian Romani, and Turkish music influences are also present. Cultural origins. Jewish celebrations, especially weddings, in Eastern Europe. Typical instruments. Violin, cymbalom, clarinet, accordion, trombone, trumpet, piano, double bass. Regional scenes. Germany – Israel – United States. Other topics. Klez. Kamp – Klezmer- loshn – Klez. Kanada. Klezmer (Yiddish: . Played by professional musicians called klezmorim in ensembles known as kapelye, the genre originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddish- speaking Jewish immigrants from Eastern Europe, who arrived between 1. During the initial years after the klezmer revival of the 1. American sub- variety was what most people knew as klezmer, although in the 2. Additionally, later immigrants from the Soviet Union, such as German Goldenshtayn, took their surviving repertoires to the United States and Israel in the 1. Compared with most other European folk- music styles, little is known about the history of klezmer music, and much of what is said about it remains conjectural.
We are used to hearing the keyboard music of the great harpsichord masters Bach, Scarlatti, even Handel, played on the piano, but why not that of their contemporary.![]() Early 2. 0th century recordings and writings most often refer to the style as . The first recordings to use the term . This is not a coincidence; the style is meant to imitate khazone and paraliturgical singing. A number of dreydlekh (a Yiddish word for musical ornaments), such as krekhts (. Perhaps the strongest and most enduring is Romanian music. Klezmer musicians heard and adapted traditional Romanian music, which is reflected in the dance forms found throughout surviving klezmer music repertoire (e. Horas, Doinas, Sirbas, and Bulgars)History. The Bible has several descriptions of orchestras and Levites making music, but after the destruction of the Second Temple in 7. CE, many Rabbis discouraged musical instruments. However, the importance of merrymaking at weddings was not diminished, and musicians came forth to fill that niche, klezmorim. ![]() The first klezmer known by name was Yakobius ben Yakobius, a player of the aulos in Samaria in the 2nd century CE. The earliest written record of the klezmorim is in the 1. It should be noted that it is unlikely that they played music recognizable as klezmer today since the style and structure of klezmer as we know it today is thought to have come largely from 1. Bessarabia, where the bulk of today's traditional repertoire was written. Klezmorim based much of their secular instrumental music upon the devotional vocal music of the synagogue, in particular cantorial music. Even so, klezmorim—along with other entertainers—were typically looked down on by Rabbis because of their secular traveling lifestyle. Klezmorim often travelled and played with Romani musicians (. They had a great influence on each other musically and linguistically (the extensive klezmer argot in Yiddish includes some Romani borrowings). Klezmorim were respected for their musical abilities and diverse repertoire, but they were by no means restricted to playing klezmer. They sometimes played for Christian churches and local aristocracy, and taught some Italian classical violin virtuosos. In Ukraine they were banned from playing loud instruments, until the 1. Hence musicians took up the violin, tsimbl (or cymbalom), and other stringed instruments. The first musician to play klezmer in European concerts, Josef Gusikov, played a type of xylophone which he invented and called a . It was laid out like a cymbalom, and attracted comments from Felix Mendelssohn (highly favourable) and Liszt (condemnatory). Later, around 1. 85. Alexander II of Russia, Ukraine permitted loud instruments. The clarinet started to replace the violin as the instrument of choice. Also, a shift towards brass and percussion happened when klezmorim were conscripted into military bands. As Jews left Eastern Europe and the shtetls (see a related article about the artist Chaim Goldberg, who depicted klezmer performers of the shtetl in his paintings), klezmer spread throughout the globe, to the United States as well as to Canada, Mexico, and Argentina. Initially, the klezmer tradition was not maintained much by U. S. In the 1. 92. 0s, clarinetists Dave Tarras and Naftule Brandwein caused a brief, influential revival, but Hankus Netsky has noted that . Jews began to adopt mainstream culture, the popularity of klezmer waned, and Jewish celebrations were increasingly accompanied by non- Jewish music. While traditional performances may have been on the decline, many Jewish composers who had mainstream success, such as Leonard Bernstein and Aaron Copland, continued to be influenced by the klezmeric idioms heard during their youth (as Gustav Mahler had been). George Gershwin was familiar with klezmer music, and the opening clarinet glissando of Rhapsody in Blue suggests this influence, although the composer did not compose klezmer directly. Dmitri Shostakovich in particular admired klezmer music for embracing both the ecstasy and the despair of human life, and quoted several melodies in his chamber masterpieces, the Piano Quintet in G minor, op. Piano Trio No. 2 in E minor, op. String Quartet No. C minor, op. 1. 10 (1. In the mid- to- late 1. United States and Europe, led by Giora Feidman, The Klezmorim, Zev Feldman, Andy Statman, and the Klezmer Conservatory Band. They drew their repertoire from recordings and surviving musicians of U. S. In 1. 98. 5, Henry Sapoznik and Adrienne Cooper founded Klez. Kamp to teach klezmer and other Yiddish music. The 1. 98. 0s saw a second wave of revival, as interest grew in more traditionally inspired performances with string instruments, largely with non- Jews of the United States and Germany. Musicians began to track down older European klezmer, by listening to recordings, finding transcriptions, and making field recordings of the few klezmorim left in Eastern Europe. Key performers in this style are Joel Rubin, Budowitz, Khevrisa, Di Naye Kapelye, Yale Strom, The Chicago Klezmer Ensemble, The Maxwell Street Klezmer Band, the violinists Alicia Svigals, Steven Greenman. Other artists like Yale Strom used their first- hand field research and recordings from as early as 1. Central and Eastern Europe as a foundation for more of a fusion between traditional repertoire and original compositions, as well as incorporating the Rom (Roma) music element into the Jewish style. Bands like Brave Old World, Hot Pstromi and The Klezmatics also emerged during this period. In the 1. 99. 0s, musicians from the San Francisco Bay Area helped further interest in klezmer music by taking it into new territory. Clarinetist Ben Goldberg and drummer Kenny Wollesen, after playing in Bay Area- based The Klezmorim, formed the critically acclaimed New Klezmer Trio—kicking open the door for radical experiments with Ashkenazi music and paving the way for John Zorn's Masada, Naftule's Dream, Don Byron's Mickey Katz project and violinist Daniel Hoffman's band Davka. The New Orleans Klezmer All- Stars . Klezmer melodies have recently been incorporated into songs by third- wave Ska band Streetlight Manifesto. Singer/songwriter Tomas Kalnoky frequently slips in horn licks with Russian and Jewish origins. Starting in 2. 00. They wanted to explore klezmer and lautari roots, and fuse the music of the two . The resulting band now performs internationally. As with this ensemble, groups like Di Naye Kapelye and Yale Strom & Hot Pstromi have incorporated Rom musicians and elements since their inceptions. A separate klezmer tradition had developed in Israel in the 2. Clarinetists Moshe Berlin and Avrum Leib Burstein are known exponents of the klezmer style in Israel. In order to preserve and promote klezmer music in Israel, Burstein founded the Jerusalem Klezmer Association, which has become a center for learning and performance of Klezmer music in the country. However, there were several times in history where this transmission broke down, including mass emigration, but especially the Holocaust, which destroyed most of Jewish life and culture in Europe. Few scions of klezmer dynasties remained in Europe, one notable exception being Leopold Kozlowski of Poland. Undoubtedly, much has been lost of the repertoires played in various locations and social contexts—especially wedding repertoire, since although Jewish weddings could last several days, early recording technology could only capture a few minutes at a time. Also, recordings specific to one area may not have represented klezmer repertoire from other parts of the region. Fortunately, a few older klezmorim—such as Leon Schwartz, Dave Tarras, and German Goldenshtayn—survived into the klezmer revival era and could recall some forgotten repertoire. Also, some transcriptions survive from the 1. Some ethnomusicological work from Jewish Eastern Europe is still available in print, notably the work of Soviet. Jewish field researcher Moshe Beregovski. In the 2. 1st century, klezmer is typically learned from . Typically piano, accordion, or bass plays a duple oompah beat. These are by far the most popular klezmer dances. It is one of the most common klezmer dances. Its name comes from the straight- legged, quick movements of the legs, reminiscent of the shears (Yiddish: sher) of tailors. Khosidl, or khusidl, named after the Hasidic Jews who danced it, is a more dignified embellished dance in 2. The dance steps can be performed in a circle or in a line. Hora or zhok is a Romanian- style dance in a hobbling 3. The Israeli hora derives its roots from the Romanian hora. The Yiddish name zhok comes from the Romanian term joc (literally . Terk in America is one famous arrangement by Naftule Brandwein, who used this form extensively. As its name indicates, it recalls Turkish styles.
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