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Klezmer is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman music, Baroque music, German and Slavic folk dances, and religious Jewish music. As the music arrived in the United States, it lost some of its traditional ritual elements and adopted elements of American big band and popular music. Among the European-born klezmers who popularized the genre in the United States in the 1910s and 1920s were Dave Tarras and Naftule Brandwein; they were followed by American-born musicians such as Max Epstein, Sid Beckerman and Ray Musiker.
Naftule Brandwein, or Naftuli Brandwine, was an Austrian-born Jewish American Klezmer musician, clarinetist, bandleader and recording artist active from the 1910s to the 1940s. Along with Dave Tarras, he is considered to be among the top klezmer musicians of the twentieth century, and has a continuing influence on musicians in the genre a century later. Along with Tarras and other contemporaries like Israel J. Hochman, Max Leibowitz and Harry Kandel, he also helped forge the new American klezmer sound of the early twentieth century, which gradually gravitated towards a sophisticated big-band sound.
Harry Kandel was an American clarinetist and klezmer bandleader of the early twentieth century. His recording career with the Victor Recording Company lasted from 1916 to 1927, during which he released dozens of Jewish music records.
Joseph Moskowitz was a Romanian-born American cimbalom player, composer, restaurant owner and recording artist in New York City during the first half of the twentieth century. A descendant of a family of klezmer musicians, he was among the most well-known American cimbalom players of his time, and had a wide repertoire which included not only Jewish music but also Romanian, classical, and ragtime music. He is thought to have composed over 100 cimbalom pieces which drew upon various musical influences. His restaurant Moskowitz & Lupowitz, on Second Avenue also became a popular destination and celebrity hangout in the 1920s and 1930s.
A badchen or badkhn is a type of Ashkenazic Jewish professional wedding entertainer, poet, sacred clown, and master of ceremonies originating in Eastern Europe, with a history dating back to at least the sixteenth or seventeenth century. The badchen was an indispensable part of the traditional Jewish wedding in Europe who guided the bride and groom through the stages of the ceremony, act as master of ceremonies, and sing to the bride, groom and in-laws with the accompaniment of klezmer musicians. They also had a traditional role on holidays such as Hanukkah or Purim. Today they are primarily found in Chassidic communities.
Abe Schwartz was a well-known klezmer violinist, composer, Yiddish theater and ethnic recordings bandleader from the 1910s to the 1940s. In his various orchestras, he recorded many of the leading klezmer musicians of the early twentieth century, including Naftule Brandwein and Dave Tarras.
Joel Rubin is an American clarinetist, Klezmer musician, ethnomusicologist, and scholar of Jewish music. Since becoming involved in the Klezmer revival in the late 1970s, he has been researching, teaching and performing Klezmer music and related genres. He has been a member of, or performed with, such groups as Brave Old World, the Joel Rubin Ensemble, and Veretski Pass.
Abraham "Abe" Elenkrig was a Russian-born American klezmer bandleader, Cornet player, barber and recording artist of the early twentieth century. He was among the earliest bandleaders to record klezmer music in the United States, making a series of discs for Victor Recording Company and Columbia Records from 1913 to 1915. In 2009, the Library of Congress named his 1913 recording Fon der Choope to the National Recording Registry.
Veretski Pass is a klezmer trio using traditional instrumentation of accordion, violin, cimbalom and bowed double bass. They are based in the United States, and are named after Verecke Pass, the mountain pass through which Magyar tribes crossed into the Carpathian basin to settle what later became the Austro-Hungarian Empire. Members of this group have previously played in other Klezmer groups such as Budowitz and Brave Old World.
Max Leibowitz was an American klezmer violinist, composer and bandleader in New York City primarily in the 1910s and 1920s.
Israel J. Hochman was a Russian-born Jewish American violinist, klezmer bandleader, music arranger, and recording artist in early Twentieth Century New York City. He recorded prolifically for Edison Records, Emerson Records, Okeh Records, and Brunswick Records during the period of 1916 to 1924. He was one of a handful of bandleaders such as Abe Schwartz, Joseph Frankel and Max Leibowitz whose recordings are considered to make up the golden age of American klezmer.
Wolff N. Kostakowsky (1879–1944) was a Russian-born klezmer violinist known mostly for his publication of a book of klezmer dance tunes titled International Hebrew Wedding Music, published in New York City in 1916. That book was one of the earliest collections of klezmer repertoire published in the United States.
Pedotser, also pronounced Pedutser in some Yiddish dialects, was the popular name of Aron-Moyshe Kholodenko, a nineteenth century Klezmer violin virtuoso, composer and bandeader from Berdychiv, Russian Empire. He was one of a number of virtuosic klezmers of the nineteenth century, alongside Yosef Drucker "Stempenyu", Yehiel Goyzman "Alter Chudnover" and Josef Gusikov.
Avraham-Yehoshua Makonovetsky was a Russian-Jewish Klezmer violinist who acted as a key informant to the Soviet Ethnomusicologist Moisei Beregovsky in the 1930s. His extensive handwritten manuscripts, which are now in the collection of the Vernadsky National Library of Ukraine, serve as a rare example of nineteenth-century Klezmer violin music.
Abraham "Abe" Katzman was a Klezmer violinist, bandleader, composer, and Brunswick Records recording artist of the 1920s. He was the father of film producer Sam Katzman, uncle of American arranger and bandleader Louis Katzman and the great-uncle of Henry Katzman and Leonard Katzman.
Alter Chudnover, whose real name was Yehiel Goyzman or Hausman, was a nineteenth century Klezmer violinist from the Russian Empire. He was one of a number of virtuosic klezmers of the nineteenth century, alongside Yosef Drucker "Stempenyu", A. M. Kholodenko "Pedotser" and Josef Gusikov. He was also an early teacher to the violinist Mischa Elman.
Jeremiah Hescheles was a Yiddish-language modernist poet, journalist, and Klezmer violinist. Because of his sharp memory and varied life experiences, he was an important resource for researchers of Yiddish culture and Klezmer music in the late twentieth century.
Stempenyu was the popular name of Iosif Druker, a klezmer violin virtuoso, bandleader and composer from Berdychiv, Russian Empire. He was one of a handful of celebrity nineteenth century Jewish folk violinists from Ukraine; others included Aron-Moyshe Kholodenko "Pedotser" and Yechiel Goyzman "Alter Chudnover" from Chudniv. Sholem Aleichem loosely based his 1888 novel Stempenyu: A Jewish Novel on the real-life Stempenyu; it was adapted into various stage and film versions in the twentieth century.
Belf's Romanian Orchestra was a Jewish music recording ensemble from the Russian Empire. Although little is known about them, their numerous recordings for Syrena Rekord during the period of 1911 to 1914 are among the earliest documented examples of recorded klezmer music and are played in a style very different from the better-known American klezmer recordings of the 1910s and 1920s.
Oscar Zehngut was an Austro-Hungarian violinist, Yiddish theatre arranger and recording artist. He was one of a handful of violinists to record klezmer music in Europe before World War I, as well as a number of discs where he accompanies Yiddish theatre singers.
References
- 1 2 3 Wollock, Jeffrey (Spring 1997). "European Recordings of Jewish Instrumental Folk Music, 1911-1914". ARSC Journal. 28 (1): 36–55.
- ↑ Schwartz, Martin (1997). Klezmer Music: Early Yiddish Instrumental Music, The First Recordings: 1908-1927 (Media notes). Arhoolie.
- ↑ Feldman, Zev (2016). Klezmer : music, history and memory. New York, NY: Oxford University Press. p. 103. ISBN 9780190244514.
- ↑ "H. Steiner". FAU Recorded Sound Archive. Retrieved 28 February 2021.
- ↑ Feldman, Zev (2016). Klezmer : music, history and memory. New York, NY: Oxford University Press. p. 101. ISBN 9780190244514.
- ↑ Feldman, Zev (2016). Klezmer : music, history and memory. New York, NY: Oxford University Press. pp. 310–12. ISBN 9780190244514.
- ↑ Klezmer music (1910-1927): early Yiddish instrumental music. WorldCat. 1983. OCLC 42554519 . Retrieved 28 February 2021.
- ↑ Oytsres Klezmer music 1908-1996 = Treasures = Schätze. WorldCat (in Yiddish). Wergo. 1999. OCLC 313823812 . Retrieved 28 February 2021.
- ↑ Klassic Klezmer. WorldCat. Goldies. 2001. OCLC 48180493 . Retrieved 28 February 2021.
- ↑ "KlezmerShack CD Review: Budowitz / Mother Tongue". KlezmerShack. 22 November 2006. Retrieved 28 February 2021.
- ↑ "European Klezmer Music". Smithsonian Folkways Recordings. Retrieved 28 February 2021.
- ↑ "Music Review: Muzsikas / Maramaros -- Lost Jewish Music of Transylvania". KlezmerShack. 19 July 1997. Retrieved 28 February 2021.
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