Download Klezmer Clarinetsit Guide (Metodo de Clarinete) PDF

TitleKlezmer Clarinetsit Guide (Metodo de Clarinete)
Tags Pop Culture Elements Of Music Performing Arts Mode (Music)
File Size159.4 KB
Total Pages4
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Page 1

– Michèle Gingras

A question I am asked often is: “How
did a French Canadian end up playing,
recording, and teaching Jewish music?”

About five years ago, a student of mine
asked if I’d like to borrow her tape, The
Magic of Klezmer featuring clarinettist Giora
Feidman. I thought to myself: “Klezmer
music... I’ve read about it before...” But
when I put the tape in the cassette player,
little did I know that after 20 seconds of
listening, I’d be running around the
hallways of Miami University wanting to
share this wonderful music with my friends
and colleagues.

I spent the next year listening to
numerous recordings (vintage and con-
temporary), consulting with clarinettists
David Krakauer in New York and Ilene
Stahl and Hankus Netsky in Boston, and
attending various klezmer workshops in
Chicago and Canada, thanks to the
generous support of Miami University.
Later on, I joined a band, The Cincinnati
Klezmer Project (led by Josh Moss),
recorded three CDs, and I now spend each
and every Saturday nights playing Bar
Mitzvah’s, Jewish community events, black
tie affairs, fund raisers, and world music
festivals. As a classical musician, the
experience has been glorious and rewarding,
and has allowed me to tap into new kinds
of performance venues which were
previously unavailable to me.
How did klezmer music start?

Klezmer music is the traditional
instrumental celebratory music of the
Yiddish-speaking Jewish people of Eastern
Europe, and dates back at least as far as 16th
century Central Europe. Klezmer was heard
in parts of Europe that are today’s Poland,
Ukraine, Byelorus, Lithuania, Latvia,
Moldova, Romania, Slovakia, and Hungary.
The term klezmer is derived from the
Hebrew roots “kli-zemer” or “vessel of song”,
(consistent with an ancient Jewish belief
that a musician is not really a creator of
music, but a vessel through which music
flows.) It refers to the professional Jewish

folk musicians of Eastern European origin,
and since the 1970s, it also has been used
to describe the genres of music they
performed.

From 1881 to 1924, there was a wave of
Jewish immigrants from Eastern Europe
entering the New World. The people
naturally brought their music along and
performed for the Yiddish Theatre (New
York City) and for all kinds of celebrations.
In the ‘30s and ‘40s, their American-born
sons and daughters became more interested

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