Klezmer

Klezmer (כלזמיר, from Hebrew k'li zemer כלי זמר, "instrument of song") is a musical tradition which parallels Hasidic and Ashkenazic Judaism. Around the 15th century, a tradition of secular (non-liturgical) Jewish music was developed by musicians called klezmorim. They drew on devotional traditions extending back into Biblical times, and their musical legacy of klezmer continues to evolve today. The repertoire is largely dance songs for weddings and other celebrations.

History

The Bible has several descriptions of orchestras and Levites making music. But after the destruction of the Second Temple in 70, many Rabbis discouraged musical instruments. But 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 150s player of the aulus in Samaria. The earliest written record of the klezmorim is in the 15th century. It should be noted that its unlikely that they played music recognizable as Klezmer today.

Related Topics:
Bible - Levites - Second Temple - 70 - Rabbi - 150s - Aulus - Samaria - 15th century

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Klezmorim based 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 Roma musicians, since they occupied similar social positions. They had a great influence on each other musically. In fact, many European Klezmer songs were recovered from the memories of Transylvanian Roma.

Related Topics:
Secular - Devotional - Synagogue - Cantor - Rabbi - Roma - Transylvanian

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Klezmorim were respected for their musical abilities and diverse repertoire. Klezmorim were by no means restricted to playing Klezmer. Christian churches would sometimes ask for their services, and some Italian classical violin virtuosos received their instruction. Local aristocracy held the best klezmer in high regard and often used their services.

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Like other professional musicians, klezmorim were often limited by authorities. Ukrianian restrictions lasting into the 19th century banned them from playing loud instruments. Hence musicians took up the violin, cymbalom, and other string instruments. Later, around 1855 under the reign of 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.

Related Topics:
Loud instruments - Violin - Cymbalom - 1855 - Alexander II of Russia - Clarinet

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As Jews left Eastern Europe and the shtetls, klezmer has spread throughout the globe, especially to the United States. Initially, not much of the Klezmer tradition was maintained by U.S. Jews, there were only a few Yiddish folk singers. In the 1920s the clarinetists Dave Tarras and Naftule Brandwein caused a brief, influential revival. But as U.S. Jews began to adopt mainstream culture, the popularity of Klezmer slowly declined, and Jewish celebrations were increasingly accompanied by non-Jewish music.

Related Topics:
Shtetls - United States - 1920s - Dave Tarras - Naftule Brandwein

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However, many 20th century Jewish composers of classical music who secured mainstream success, such as Leonard Bernstein, Aaron Copland, and George Gershwin, were clearly influenced by the klezmeric idiom of their youth. A memorable instance of klezmeric inspiration can be heard in the clarinet glissando that opens Gershwin's Rhapsody in Blue (1924). Non-Jewish composers also turned to klezmer for a prolific source of fascinating thematic material. Dmitri Shostakovich admired klezmer music for embracing both the ecstasy and the despair of human life. He adapted several klezmer melodies in his chamber masterpieces, the Piano Quintet in G minor, op. 57 (1940) and the Piano Trio No. 2 in E minor, op. 67 (1944).

Related Topics:
20th century - Classical music - Leonard Bernstein - Aaron Copland - George Gershwin - Glissando - Rhapsody in Blue - Dmitri Shostakovich - Chamber

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In the 1970s there was a Klezmer revival in the United States and Europe, led by Giora Feidman, Zev Feldman, Andy Statman, and the Klezmer Conservatory Band. They drew their repertoire from recordings and surviving musicians of U.S. Klezmer. In 1985 Henry Sapoznik founded KlezKamp to teach Klezmer and other Yiddish music.

Related Topics:
1970s - Giora Feidman - Zev Feldman - Andy Statman - Klezmer Conservatory Band - 1985 - Henry Sapoznik - KlezKamp

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Shortly thereafter in the 1980s, the was a second revival as interest grew in more traditionally-inspired performances with string instruments, largely in 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 Alicia Svigals and Budowitz.

Related Topics:
1980s - Germany - Alicia Svigals - Budowitz

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Interest in klezmer has developed in avant-garde jazz musicians like John Zorn and Don Byron, who sometimes blend klezmer with jazz.

Related Topics:
Avant-garde - Jazz - John Zorn - Don Byron

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