Klezmer fiddle

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). 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). The lead fiddler was usually the bandleader; he would be the best paid, and the ensemble would often take his name. His accompanists were also known as the Kapelye. 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. Weddings at this time were major events, lasting anything from two days to a week. Music was learned by ear with little or no formal training, 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. This clarinet-dominated, jazzy and distinctively American form of klezmer became known as the Lower east Side sound. 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.

Klezmer revival

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. A stately Dobri Den is played to welcome guests at the start of the 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.

Chris Haigh is a London-based fiddle player who specialises in Klezmer, gypsy and East European styles. He plays with a trio, Klezmania, doing lots of Jewish weddings and Bar Mitzvahs; this band does a mixture of traditional Klezmer and Israeli tunes along with some jazz improvisation. Tziganarama is Chris's own trio, playing a wide range of Jewish, Russian, Balkan and gypsy music, whilst The Kremlinaires is Chris's wacky 7-piece Soviet Swing band.

Chris sometimes plays solo or as a duo with accordion, going "around the tables" at a dinner.

He gives workshops on klezmer fiddle style, demonstrating techniques and ornamentation, describing the different tunes types and scales used in klezmer.

He writes original klezmer melodies; his tune "Klezmania" was used on a worldwide TV ad for Nike!

Links:

Klezmer on Line (UK klezmer site including many band links)

Ari Davidow's Klezmer Shack

Budowitz

Brave Old World

Klezcamp

Di Naye Kapelye (Hungarian Klezmer band); their site includes an excellent article on Klezmer fiddle.

Jewish Music Institute

Jewish Music Distribution (comprehensive source of Klezmer music)

klezmer.co.uk (home of British Klezmer)

"Klezmer in a few words" (actally one of the most thorough descriptions of klezmer I've found)

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contact me (Chris Haigh)

Marc Chagall's Green Fiddler