Ashkenazi Jews of Eastern Europe. Played by professional musicians called klezmorim in ensembles known as kapelye, the essential elements 2000 clarinet book 1 pdf originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations.
In the United States the genre evolved considerably as Yiddish-speaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924, met and assimilated American jazz. Additionally, later immigrants from the Soviet Union, such as German Goldenshtayn, took their surviving repertoires to the United States and Israel in the 1980s. Compared with most other European folk-music styles, little is known about the history of klezmer music, and much of what is said about it remains conjectural.
Originally, klezmer referred to musical instruments, and was later extended to refer, as a pejorative, to musicians themselves. It was not until the late 20th century that the word came to identify a musical genre. 78, followed by Andy Statman and Zev Feldman’s Jewish Klezmer Music in 1979. Klezmer is easily identifiable by its characteristic expressive melodies, reminiscent of the human voice, complete with laughing and weeping.
Various musical styles influenced traditional klezmer music. Perhaps the strongest and most enduring is Romanian music.
Klezmer musicians at a wedding, Ukraine, ca. The Bible has several descriptions of orchestras and Levites making music, but after the destruction of the Second Temple in 70 CE, many Rabbis discouraged musical instruments. However, 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 player of the aulos in Samaria in the 2nd century CE.
The earliest written record of the klezmorim is in the 15th century. It should be noted that it is unlikely that they played music recognizable as klezmer today since the style and structure of klezmer as we know it today is thought to have come largely from 19th century Bessarabia, where the bulk of today’s traditional repertoire was written. Klezmorim based much of 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 were respected for their musical abilities and diverse repertoire, but they were by no means restricted to playing klezmer. They sometimes played for Christian churches and local aristocracy, and taught some Italian classical violin virtuosos.