Archive for June, 1999

Oytsres – Treasures: Klezmer Music 1908-1996

Monday, June 14th, 1999

Oytsres CD cover

Oytsres – Treasures:
Klezmer Music 1908-1996
(Schott Wergo SM 1621 2; Mainz, 1999)

Oytsres contains performances by many of the musical personalities described in the book, Klezmer Music, by Joel Rubin and Rita Ottens (Bärenreiter/dtv, 1999), the colorful social history of Yiddish wedding and celebratory music spanning centuries and continents. Among these are the Ukrainian-Jewish violinist M.I. Rabinovitsh, likely the last representative of the lyrical and ornate violin tradition of 19th century Jewish eastern Europe, as well as Naftule Brandwein, Shloimke Beckerman, Dave Tarras and the Max Epstein, the four great American-Jewish clarinetists of the immigrant era in New York. The influence of klezmer music on the Yiddish theater can be heard in Solomon Fayntukh’s symphonic arrangements of traditional klezmer tunes, recorded 1939 in the USSR, and in the melodies of the beloved Yiddish theater composer Alexander Olshanetsky in New York. That the klezmer tradition has organically continued on within both the religious and secular worlds is shown by such varied performances as a field recording of the ultra-orthodox clarinetist Avrom Segal from Israel and the ensemble of the concert clarinetist Joel Rubin from Los Angeles, who is considered by many among the oldest generation of eastern European-influenced American klezmorim as well as the Hasidic musicians of Israel to be the most important interpreter of the klezmer art today.

These rare, mostly historical recordings were digitally remastered by Christian Zwarg and are all issued on CD for the first time and stem from the National Sound Archives (Jerusalem), the YIVO Institute for Jewish Research (New York) and Gratz College (Pennsylvania), as well as from the archive of DeutschlandRadio and private European collections.

“Some of the best digital remastering I have ever encountered
(Jewish Quarterly, London)

“Truly successful and phenomenal as an acoustical supplement [to the book Klezmer-Musik]. … In order to approach being able to understand the history of klezmer music, we should dig up the ‘treasures’ of klezmer music over and over again and listen to all of them”
(Neue Zeitschrift für Musik 4/2000)

“[The] old recordings from Eastern Europe cannot be considered to be anything but treasures, singular rarities, and therefore each one precious in and of itself”
(Der kleine Bund, Switzerland)

Track List:

1. Orchestra of the Lemberg Yiddish Theater / Ouverture “Die Drei Matunes” (Khone Wolfsthal) 5:39
2. H. Steiner / Potpourri of Jewish Melodies 5:44
3. Jewish Wedding Orchestra under the direction of Back / Gereist und getroffen (Traveled and Arrived) – Lustige Sachen 2:43
4. Belf’s Romanian Orchestra) / Na Rasv’et’e (At Dawn) 2:41
5. Belf’s Romanian Orchestra) / Platch Yevreia (Cry Jews) 2:52
6. Jacob Gegna / Taxim (Jacob Gegna) 2:43
7. Naftule Brandwein’s Orchestra / Doina and Nachspiel 6:33
8. Shloimke Beckerman, clarinet / Hot Azoi 3:07
9. Cherniavsky’s Yiddishe Jazz Band / Der Dibuk (Joseph Cherniavsky) 3:27
10. Naftule Brandwein’s Orchestra / Odesser Bulgar Dance (Odessa Bulgar Dance) 3:02
11. Naftule Brandwein’s Orchestra / Honga Ciganesta (Roumanian Dance) 3:08
12. Alex Olshantesky’s Orchestra / Yiddishe Hora und Sarba Maracinei (Jewish Dance) (J. Moskowitz) 3:14
13. Abe Schwartz Orchestra / Gelebt und Gelacht – Frehlichs (Lived and Laughed) 3:11
14. Dave Tarras / Duvid, Shpiel Dus Noch Amul (Play it Again)(Dave Tarras) 3:06
15. State Ensemble for Jewish Folk Music and Song of the Ukrainian SSR / Bazetsn di Kale (Seating the Bride) 5:50
16. State Ensemble for Jewish Folk Music of the Ukrainian SSR / Sher, Evreiskii Narodnii Tanets (Jewish Folk Dance) 2:35
17. Dave Tarras Jewish Instrumental Trio / Kiever Sher (D. Tarras) 2:50
18. Hymie Jacobson’s Orchestra featuring Maxie Epstein, clarinet / Yiddish Bulgar 2:44
19. T’khies Ha-Meysim 2:05
20. Joel Rubin Jewish Music Ensemble / Gershfeld’s Bulgarish 4:20

Klezmer-Musik

Thursday, June 10th, 1999

Klezmer Musik book coverJoel Rubin / Rita Ottens
Klezmer-Musik (in German)
dtv 30748 / Bärenreiter 1990
with numerous illustrations and musical examples
An original publication of Bärenreiter-Verlag and dtv, 1999.

Currently out of print.

Klezmer-Musik is not about the current klezmer revival in America and its followers in Europe, but rather about the musical tradition of the klezmorim and their culture, which developed in eastern Europe as a way of life within a society governed by Jewish religious customs. The result is the collective biography of the klezmer musicians of eastern Europe and their immediate successors, told from the perspective of the musicians themselves. For the first time, the roots of klezmer music in the Jewish religion, its originally magical function and its place within the medieval folk beliefs of the Ashkenazic Jews of the Rhineland are described. With a multidisciplinary approach combining elements of ethnomusicology, historical musicology, Judaic studies, comparative religion and literature, history, sociology and cultural studies, it was possible to reconstruct the complex developments in traditional klezmer music and to show its path over generations and continents. Klezmer-Musik is the result of over ten years of interviews and research in the United States, eastern and western Europe and Israel. Joel Rubin’s scholarly research as an ethnomusicologist and his practical work as a performing musician – in particular with the Epstein Brothers and Pete Sokolow, and Israeli hasidic musicians – opened the doors to a world which enriched the authors’ research and made this book possible.

Review excerpts:

“This is one of the most serious publications about klezmer music published thus far in any language.”

(Professor Edwin Seroussi, The Jewish Music Research Centre, The Hebrew University, Jerusalem)

“Here at last is an authoritative and scholarly history of the subject… The authors … have produced a work that at one stroke dispels the fog of ignorance and false assumptions that has long surrounded this subject. The authors set forth in extraordinary detail the history of klezmer music from its roots in the Middle Ages up to the present day. We now have access for the first time to a wealth of detailed information concerning the life, musical training and repertoire and social milieu of the East European klezmorim. However, it is not only a history of the genre, but also a critical analysis of the development of klezmer music since its rediscovery in the mid-1970s and a consideration of what happens to a musical form once it has been divorced from the social circumstances that gave birth to it. “Klezmer-Musik” is based on documentary source material in Eastern Europe that until now has been overlooked (or never even sought) by music scholars. In addition, Ottens and Rubin have interviewed dozens of surviving klezmer musicians or their descendants in both Europe and in the USA. As a result, we need radically to revise our perception of what klezmer music is and where it came from. … It is one of the great virtues of this work that it not only provides an unbelievably detailed history of klezmer music (the bulk of the book), but also states clearly and honestly for the first time the problems that modern klezmer music faces in its present impase. I should also add that, unlike most other works of profound scholarship, this book is very elegantly written and a pleasure to read.”

(Michael Aylward, Jewish Quarterly, Spring 2000)

“so suspenseful that the reader can’t put it down. The clarity is astonishing, taking the reader by the hand and leading him through several centuries of musical history, without him being subjugated to a pedagogic-didactic tour and wandering astray – as is so often the case with such comprehensive depictions – in the jungle of a new music history.”

(Neue Zeitschrift für Musik 4/2000)

“unique … a groundbreaking work”

(Süddeutsche Zeitung)

“The characteristic features of klezmer music … are so vividly depicted that the the music immediately pops into the reader’s head.”

(Frankfurter Allgemeine Zeitung)

“very informative … carefully depicted.”

Die Zeit

“a successful piece of work.”

(Forverts / Jewish Daily Forward)

“an historically and musicologically sound, but also very lively and humane depiction of a serious and colourful musical tradition.”

(Fono Forum)

“… there is probably nobody more competent to write a history of klezmer music. … Rita Ottens and Joel Rubin have written an immensely exciting and fascinating book full of a wealth of information”

(Radio DRS 2, Switzerland)

“Both [Rubin and Ottens] belong to the most profound authorities on the subject … An extremely thoroughly researched publication”

(Der kleine Bund, Switzerland)

“… an extremely lively depiction, subtly constructed and vividly articulate, gleaned from published and unpublished materials, and from conversations with musicians and their descendents. … Thanks to a thorough reading of available sources and an always clear portrayal in the form of a klezmer biography, the extremely complex and diversly influenced path of this music becomes comprehensible. Statements [about klezmer music] are always tied to related socio-cultural, societal and, last but not least, political issues and, at the same time, they refer to the not inconsiderable importance of changing ways of interpretation with regard to conceptions of sound and rhythm. Here there is no one-way street from the Eastern European shtetl to the streets of New York, and no simple disintegration of traditional klezmer music takes place. The authors show through many practical musical examples on the one hand how complexly, and on the other hand how pragmatically the transformation of this music took place. … Their spiritual-emotional nearness to this subject can be felt on every page of this book – as an intellectual-scholarly exegesis as well as a deeply rooted feeling of being alive.”

(Cellesche Zeitung)