Klezmer fiddle
Klezmer (literally meaning "vessel of music") started as the instrumental accompaniment to Jewish religious ceremonies; the rabbis were well aware of the power of music in the fields of mysticism and ecstatic prayer, and the precursers of Klezmer certainly existed in Biblical times. Following the destruction of the second Temple, all rejoicing and use of musical instruments was banned, with the exception of occasional use of the Rams Horn (Shofar).
Rumours of the use of a strange four-stringed
Rams Horn at this time cannot be confirmed. In the Middle ages
other musical instruments came back into use, and by the 15th
Century klezmer was beginning to develop independently of the
synagogue, incorporating secular and folk music performed in the
wider community.
The first Klezmer bands
The Ashkenazi jews were found across a wide swathe of Eastern Europe from the Baltic to the Black Sea, both in rural villages or shtetls, and in the urban ghettoes of cities such as Krakow, Warsaw, Odessa and Bucharest. A typical klezmer band would be lead by the violin (known as a fidl), accompanied perhaps by a second fiddle (tsweyster) playing the melodies an octave lower; and maybe a third, rhythmic fiddle (the fturke or secunda) ; other instruments may have included clarinet, cello, dulcimer or cymbalom (tsimbl). They lead a shadowy, hand-to-mouth existence, travelling a wide circuit around their home town. They were often disapproved of by the authorities, but found themselves playing for every strata of society from humble peasant weddings to aristocratic balls, for Jew and gentile alike. Music was learned by ear, and passed on from father to son (definitely not to daughter!) They shared their profession, clientele and much of their repertoire with another group of social misfits- the gypsies. Indeed it is said that many well known gypsy groups were actually klezmer musicians in disguise!
Amid such a diverse melting-pot of nations and ethnic groups, the influences on klezmer were many and diverse. However, the style and structure of klezmer as we know it today is thought to have come largely from Bessarabia- a part of Romania annexed by Russia in 1812, lying between the rivers Prut and Dnestr, and now largely in Moldova and the Ukraine. Ethnomusicologist Walter Zev Feldman, in Stacy Phillips' book Klezmer Collection considers that the bulk of today's traditional repertoire was written in this area in the mid 19th Century; the bulgar, (one of the staple tune forms of klezmer) is a specific Bessarabian dance. Famous fiddlers from this period included Arn-moyshe Kholodenko (aka Pedotser (1806-1837) and Yossele Drucker (aka Stempenyu, 1822-1879)
Eclipsed by the clarinet
The political upheavals in central and eastern Europe from the
late 19th Century onwards had two important effects on klezmer.
One was that many jews were conscripted into armies, often finding
themselves in military bands. Drums, brass, woodwind and most
significantly the clarinet became incorporated into Jewish musical
life. From this point on the clarinet was gradually to eclipse
the fiddle as the principal instrument of klezmer. There followed
a great exodus of Jews from eastern Europe, mostly to America
and most notably to New York. Typical of this trend was one of
the great figures of American klezmer, Dave Tarras. Born in the
Ukraine in 1897, his grandfather was a famous Hasidic fiddler.
He emigrated to the US in 1921 and soon established himself as
a leading klezmer clarinettist, bandleader and composer. Many
of his tunes remain standards to this day. Other "first generation"
clarinettist/bandleaders of the day included Naftule Brandwein
and Shloimke Beckerman. Abe Schwartz was one of the few
violinists to reach a similarly prominent position.
For the first time commercial recordings were becoming significant
in the development and dissemination of the style. Rambling, largely
improvised tunes were of necessity cut down to three minutes and
became standardised in form. The pervasive influence of jazz also
had a profound effect, and the two styles found much in common.
Der Schtiller Bulgar, a classic klezmer tune first
recorded in 1911 by Harry Kandel's Orchestra became a swing standard
by the name of And the Angels Sing. Bei Mir Bist du
Sheyn is another well-known swing-klezmer crossover from the
period.
As the swing era faded in the 1950's so did
klezmer, until by the 70's the old tunes were rarely heard. Young
Jewish musicians were strongly represented in the fields of folk,
American old-time and bluegrass (often calling themselves Jewbillies!)
to such an extent that the Appalachian fiddler Tommy Jarrell
is said to have asked Harry "Hank" Sapoznik-"Don't
you people got none of your own music?". Intrigued, Sapoznik
decided to find out whether indeed they did or don't (!), and
his process of rediscovery of Jewish musical roots was a key part
in what has proved to be a widespread and sustained klezmer revival.
With help from surviving klezmer musicians(most notably the fiddler
Leon Schwartz) and the invaluable aid of old '78 recordings
(aptly described as "musical Rosetta Stones") he started
to recreate the sounds of the 20's New York bands with his new
group Kapelye. Besides helping to reissue many of the old recordings
(among the earliest are those by the Belf Orchestra) and writing
an essential introduction to the style (The Compleat Klezmer),
he has also pioneered the noble art of klezmer banjo playing (trust
me on this one!). It was not until this recent revival that the
term Klezmer came into common use, and now for perhaps the first
time it could be concert music as well as just for dancing.
The cause was soon taken up by others, notably Andy Statman and
the Klezmorim, and by the 80's there was whole tide of new bands.
Budowitz
Some, such as Budowitz, strive to recreate the soul of 19th century Klezmer, as do Brave Old World, which features violinist Michael Alpert.
Others have a distinctly modern approach, fusing
jazz and latin with the more traditional elements. First and foremost
among these remain the Klezmatics, who worked with the classical
violinist Itzhak Perlman on the project In the Fiddler's
House which spawned a TV documentary, concert tour and CD.
Klezmer fiddle ornamentation
A founder member of the Klezmatics is violinist
Alicia Svigals, whose playing in many ways defines modern
klezmer fiddle playing. With only the '78's and the help of old
New York fiddler Leon Schwartz, she has both reconstructed
and personalised the sound which once dominated klezmer. Her playing
is emotive and soulful, drawing on the laughing and crying sounds
heard both in the clarinet and cantorial singing styles. There
is frequent bending up to or down from a note, and she makes much
use of the krechz,(or Krekhts) a short sobbing ornament
played with the 4th finger at the end of a note. Rapid trills
(dreydlakh) are common, and she often creates false harmonics
by lightening the pressure on the bow, giving a haunting whisper
to the note.
Alicia Svigals
A classical training is a distinct advantage for a klezmer fiddle player,as use of the higher positions is often required, and a strong, rich tone is essential. Improvisation is important, though on a strictly limited scale; the jazz idea of "blowing over the changes" is generally frowned on in mainstream klezmer ; it's more a case of each melody player demonstrating a degree of individuality, even when playing in unison. This is often described as Heterophony, or "independant togetherness!) The keys are fortunately violin-friendly, more often than not being in Dm and F.
Flying Bulgars
The most common tune type in the klezmer repertoire is the Bulgar
or Freylekhs , a lively circle dance in which a 123,123,12 rhythm
(usually from the snare drum) is played against a straight 2/4
from the bass, piano or accordion. An example would be the Heyser
Bulgar. A Khosidl is a slower dance in 4/4 with more room
for embellishment, such as Ot Azoy or Broyges Tanz.
Slower still is the Hora or Zhok, a Rumanian style tune with a
distinctive 3/8 rhythm with stress on the first and third beats
of the bar; for example Gasn Nign or Kandel's Hora
(don't confuse the Hora with the Israeli dance of the same name-
they have completely different rhythms). A Terkish is a moderate-tempo
oriental-sounding piece with a slightly latin-sounding rhythm,
such as Terk in Amerika. The Sher is a moderate 2/4 dance
(such as Russian Sher no.5), whilst a Doina is a slow,
free-tempo improvised rhapsody serving as a showpiece for a soloist.
Many tunes are related to specific parts of a wedding ceremony.
Firn Di Mekhutonem Aheym, for example, is to accompany
the parents of the bride and bridegroom; Chosen Kalle Masel
Tov congratulates the lucky couple, Freylekhs fur de Khupe
is played at the wedding canopy, and Siman Tov is for when
the glass is broken. Sunrise, Sunset from Fiddler on the
Roof is often used as the first waltz.
Klezmer scales
Part of the distinctive sound of klezmer comes from the scales , modes or Shteygers used. The Ahava Raba scale is major, but its feel is greatly altered by a flattened 2nd and 5th, as in the opening section of Hava Nagila. The Misheberakh is minor, but with a wide interval between the flattened 3rd and raised 5th-seen for example in Odessa Bulgar. The Adonoi Molokh is a major scale but with a flattened 7th (not unlike a common bluegrass scale), such as in the Schtiller Bulgar. The names of these modes come from the sung prayers in which they are used.
Klezcamp
An excellent place to learn more about this music is at Klezcamp,
an international event held each winter in the Catskill mountains
of the USA. Alicia Svigals and many other professional players
have made this event a point of focus for the study, dissemination
and promotion of klezmer throughout the world.
In the UK an annual Klezfest with extensive workshops and concerts is organised by the Jewish Music Institute.
Check out the two London-based klezmer bands I play with:
Links:
RETURN TO FIDDLINGAROUND HOMEPAGE
