Archive for September, 2015

Yiddish Summer — Yidishkayt Revisited 2-part radio series

Friday, September 25th, 2015

ysw15_head_en

Nice radio programs on Yiddish Summer Weimar 2015 by Friederike Haupt, featuring Joel Rubin, Alan Bern and others. Musik der Welt, BR-Klassik (Bavarian State Radio).

Part I

Part II

These will as I understand only be archived for one week each.

 

Poyln: A Gilgul, Veretski Pass and Joel Rubin

Saturday, September 19th, 2015

Poyln cover

Available since October, 2015:

Poyln: A Gigul, Veretski Pass’s recording with Joel Rubin, uncovers the repertoire of pre-Holocaust traditional, previously lost, Polish-Jewish music. Veretski Pass has collaborated with the traditional Jewish clarinetist, Joel Rubin, to create a program of music that revitalizes the pieces and styles of music that were previously deemed lost, but recovered through the field work, archival research and scholarship of Joel Rubin, Cookie Segelstein, Stuart Brotman and Joshua Horowitz.

The region that has come to define the repertoire of klezmer music has been almost exclusively what is known today as Moldova, Romania and West Ukraine. Poland has provided only a fraction of the repertoire (mostly revived by us ourselves), despite the fact that 3.3 million Jews lived in Poland prior to WWII (roughly 10 percent of the entire Polish population). The enormous contribution of Polish Jews to folk music has gone almost completely unnoticed, giving the impression that “klezmer” music is exclusively defined by “Bessarabia” (roughly Romania) without giving notice to Poland.

Joel Rubin, C clarinet

Cookie Segelstein, violin

Joshua Horowitz, accordion and tsimbl

Stuart Brotman, Zakopany cello

For more information on this exciting recording project, including reviews, please visit:

Poyln website

or buy it here: Veretski Pass Store

New Review by Ari Davidow (klezmershack.com):

Poylin review klezmershack.com

“sparkles with life. … just about the most exquisite violin, clarinet, accordion, tsimbl, or bass cello you’ll ever hear. And music that swings and bows and glides along, from dance tunes to sad doinas to thoughtful hasidic nigns. It’s not just music. It is life in its next gilgul, here, now.”

5-Star Review by Simon Broughton in Songlines:

Songlines review by Simon Broughton

“sometimes wistful, sometimes exuberant, but always expertly played … This is a memorable and important album from true masters of the klezmer repertoire.”

Review by Eléonore Biezunski (iemj):

Review (French)

 

 

Poyln: A Gilgul, Veretski Pass and Joel Rubin

Saturday, September 19th, 2015

Veretski 2 20150514-_DSC1335

 

Recent concerts and workshops: KlezMore Festival, Vienna; Klezmerwelten Festival, Gelsenkirchen, Germany; Jüdische Kulturtage, Halle, Germany; Brotfabrik, Bonn, Germany, November 2017.

Poyln: A Gigul, Veretski Pass’s new project with Joel Rubin, uncovers the repertoire of pre-Holocaust traditional, previously lost, Polish-Jewish music. Veretski Pass has collaborated with the traditional Jewish clarinetist, Joel Rubin, to create a program of music that revitalizes the pieces and styles of music that were previously deemed lost, but recovered through the field work, archival research and scholarship of Joel Rubin, Cookie Segelstein, Stuart Brotman and Joshua Horowitz.

Veretski Pass is a trio of Jewish Music veterans who have been at the forefront of the klezmer revival for over 25 years. Their output spans the ultra-traditional to the avant garde.

Joel Rubin is considered to be one of the foremost clarinetists of the Klezmer Revival.

This project represents an important reunion, as Joel Rubin was part of both Brave Old World (with Stuart Brotman) and Rubin & Horowitz (with Joshua Horowitz). The reunification of these forces after so many years is a welcome addition to the post-klezmer revival!

For more information on this exciting program, see: Poyln website

See touring schedule at: Veretski Pass website

 

 

The Joel Rubin/Alan Bern Reunion

Friday, September 18th, 2015
University of Virginia Klezmer Ensemble with Alan Bern led by Joel Rubin Old Cabell Hall, Charlottesville VA

Photo © Lloyd Wolf

 

The Joel Rubin/Alan Bern Reunion

 

In a series of now legendary concerts in Berlin at the famous Café Einstein in 1988, two young American virtuosi changed the face of klezmer music. The encounter of Joel Rubin (clarinet) and Alan Bern (piano/accordion) set a standard for technique, expression, repertoire and style that has been a model for two generations since. In the late 1980s and early 1990s, Rubin and Bern formed the renowned band Brave Old World before developing in different directions for the next two decades. Rubin became one of the world’s leading scholars of klezmer music while producing milestone after milestone recordings of historical anthologies and with his own Joel Rubin Ensemble. Bern became one of the most influential teachers of his generation and Director of the Other Music Academy and Yiddish Summer Weimar, the home base of projects such as The Other Europeans and Semer Label Reloaded.

The reunion of Bern and Rubin after so many years has been celebrated throughout the world’s klezmer community. Recent performances have included KlezFest London, Yiddish Summer Weimar, and the University of Virginia.

 

Excerpts:

Video of Rubin Bern Reunion at KlezFest London, August 2016:

Rubin Bern Reunion at London KlezFest, August 2015

 

Galitsyaner

 

Beckerman Hora

 

Sirba

 

For more information on Alan Bern

 

 

Chekhov’s Band: Eastern European Klezmer Music from the EMI Archives 1908-1913

Thursday, September 17th, 2015

Chekhov flyer scan

New groundbreaking anthology (September 2015) of previously unknown pre-World War I recordings of Jewish instrumental klezmer music from Odessa, Kharkov, Poltava, Czernowitz, Lemberg, Vilna by artists including the virtuoso clarinetist Titunshnayder and the violinists Jascha Gegner and Oscar Zehngut, Bak’s Jewish Wedding Orchestra, Giter’s Orchestra, and the Czernowitzer Civilkapelle. Produced by Julian Futter for Renair Records with liner notes by Joel E. Rubin and Michael Aylward.

Available from Honest Jon’s: Honest Jon’s (UK)

and from Forced Exposure (US): Forced Exposure as of October 30, 2015

Reviews:

Forward (English)

Forward (Yiddish)

The Wire

IEMJ (Eléonore Biezunski, French)

Folk Roots review:

Layout 1

 

 

 

 

 

 

 

 

 

 

 

Uncut review:

Uncut review Chekhov

 

 

 

 

 

 

 

 

 

 

 

 

Songlines review:

Songlines review Chekhov SL114Europe-p56-57

Article Music without Borders in the New Germany: Giora Feidman and the Klezmer-influenced New Old Europe Sound

Thursday, September 17th, 2015

New Old Europe Sound cover

Joel E. Rubin, Music without Borders in the New Germany: Giora Feidman and the Klezmer-influenced New Old Europe Sound.

Ethnomusicology Forum 24(2)(August 2015): 205-229.

Part of special volume “New Old Europe Sound” edited by David Kaminsky and with additional contributions by David Kaminsky, Carol Silverman, Alexander Markovic, and Stephan Pennington.

Chapter “With an open mind and with respect”: Klezmer as a Site of the Jewish Fringe in Germany in the Early 21st Century

Thursday, September 17th, 2015

Dislocated Memories cover 9780199367481

Joel E. Rubin, “With an open mind and with respect”: Klezmer as a Site of the Jewish Fringe in Germany in the Early 21st Century, in: Dislocated Memories: Jews, Music, and Postwar German Culture. New York: Oxford University Press, 2014: 31-56.

Disclocated Memories

Recipient of the 2015 Ruth A. Solie Award from the American Musicological Society for a collection of musicological essays of exceptional merit published during the previous year.

ed. Tina Frühauf and Lily Hirsch

  • Features previously unpublished studies or new sources
  • Discusses a controversial subject throughout history

Uses an interdisciplinary approach that combines historical, ethnomusicological, and other music methodologies

The first volume of its kind, Dislocated Memories: Jews, Music, and Postwar German Culture draws together three significant areas of inquiry: Jewish music, German culture, and the legacy of the Holocaust. Jewish music-a highly debated topic-encompasses a multiplicity of musics and cultures, reflecting an inherent and evolving hybridity and transnationalism.

German culture refers to an equally diverse concept that, in this volume, includes the various cultures of prewar Germany, occupied Germany, the divided and reunified Germany, and even “German (Jewish) memory,” which is not necessarily physically bound to Germany. In the context of these perspectives, the volume makes powerful arguments about the impact of the Holocaust and its aftermath in changing contexts of musical performance and composition. In doing so, the essays in Dislocated Memories cover a wide spectrum of topics from the immediate postwar period with music in the Displaced Persons camps to the later twentieth century with compositions conceived in response to the Holocaust and the klezmer revival at the turn of this century.

Dislocated Memories builds on a wide range of recent and critical scholarship in Cold War studies, cultural history, German studies, Holocaust studies, Jewish studies, and memory studies. What binds these distinct fields tightly together are the contributors’ specific theoretical inquiries that reflect separate yet interrelated themes such as displacement and memory. While these concepts link the multi-faceted essays on a micro-level, they are also largely connected in their conceptual query by focus, on the macro-level, on the presence and the absence of Jewish music in Germany after 1945. Filled with original research by scholars at the forefront of music, history, and Jewish studies, Dislocated Memories will prove an essential text for scholars and students alike.

Jewish Popular Music in Handbuch Jüdische Kulturgeschichte

Wednesday, September 16th, 2015

Online article Joel E. Rubin, Jewish Popular Music, in: Handbuch Jüdische Kulturgeschichte. Universität Salzburg, 2015.