Klezmer! Jewish Music From Old World To Our World - 2nd Edition

SKU: BT.AMP-396-030

9x12 inches. English-German-French-Dutch.

Hava Nagila (the title means ‘let us rejoice’) is perhaps the best known example of a style of Jewish music called ‘klezmer’. Klezmer music originated in the ‘shtetl’ (villages) and the ghettos of Eastern Europe, where itinerant Jewish troubadours, known as ‘klezmorim’, had performed at celebrations, particularly weddings, since the early Middle Ages.‘Klezmer’ is a Yiddish term combining the Hebrew words ‘kley’ (instrument) and ‘zemer’ (song) and the roots of the style are found in secular melodies, popular dances, Jewish ‘hazanut’ (cantorial music) and also the ‘nigunim’, the wordless melodies intoned by the ‘Hasidim’ (orthodox Jews).Since the 16th century, lyrics hadbeen added to klezmer music, due to the ‘badkhn’ (the master of ceremony at weddings), to the ‘Purimshpil’ (the play of Esther at Purim) and to traditions of the Yiddish theatre, but the term gradually became synonymous with instrumental music, particularly featuring the violin and clarinet. The melody of Hava Nagila was adapted from a folk dance from the Romanian district of Bucovina. The commonly used text is taken from Psalm 118 of the Hebrew bible.

Hava Nagila (de titel betekent ‘laat ons gelukkig zijn’) is misschien wel het bekendste voorbeeld van klezmer, een Joodse muziekstijl.De klezmermuziek komt van oorsprong uit de sjtetls (dorpen) en de getto’s van Oost-Europa, waar rondtrekkende Joodse troubadours, bekend als klezmorim, al sinds de middeleeuwen hadden opgetreden bij feestelijkheden, en dan met name bruiloften.Klezmer is een Jiddische term waarin de Hebreeuwse woorden kley (instrument) en zemer (lied) zijn samengevoegd. De wortels van de stijl liggen in wereldlijke melodieën, volksdansen, de joods-liturgische hazanut en ook de nigunim, de woordeloze melodieën zoals die worden voorgedragen doorchassidische (orthodoxe) joden.Sinds de 16e eeuw zijn er aan de klezmermuziek ook teksten toegevoegd, dankzij de badchen (de ceremoniemeester bij huwelijken), het poerimspel (het verhaal van Esther tijdens Poerim/het Lotenfeest) en tradities binnen het Jiddische theater, maar de term werd geleidelijk synoniem aan instrumentale muziek met een hoofdrol voor de viool en klarinet.De melodie van Hava Nagila is afkomstig van een volksdans uit de Roemeense regio Boekovina. De meest gebruikte tekst voor het lied kom uit psalm 118 van de Hebreeuwse Bijbel.

Hava Nagila (auf Deutsch ‚Lasst uns glücklich sein’) ist vielleicht das bekannteste Beispiel für den jüdischen Musikstil namens ‚Klezmer’. Klezmermusik hat ihren Ursprung in den Shtetls“ (Städtchen) und den Ghettos Osteuropas, woumherziehende jüdische Troubadours, die man ‚Klezmorim’ nannte, schon seit dem frühen Mittelalter auf Feiern, vor allem Hochzeiten, zu spielen pflegten. Klezmer ist ein jiddischer Begriff, der sich aus den hebräischen Wörtern ‚kley’(Instrument) und ‚zemer’ (Lied) zusammensetzt. Die Wurzeln des Musikstils liegen in weltlichen Melodien, populären Tänzen, jüdischem ‚Chasanut’ (Kantorengesang) und auch ‚Niggunim’, Melodien ohne Text, vorgetragen von den‚Chassidim’ (orthodoxen Juden). Seit dem 16. Jahrhundert wurden die Klezmermelodien mit Texten versehen, was auf die ‚Badchan’ (Zeremonienmeister bei Hochzeiten), auf das ‚Purimshpil’ (Das Esther-Spiel zum Purimfest) und aufTraditionen des jiddischen Theaters zurückgeht. Der Begriff Klezmer wurde jedoch mit der Zeit gleichbedeutend mit Instrumentalmusik, im Besonderen mit den Instrumenten Violine und Klarinette. Die Melodie von Hava Nagila ist eine Adaption einesVolkstanzes aus der rumänischen Bukowina. Der üblicherweise verwendete Text stammt aus Psalm 118 der hebräischen Bibel.

Hava Nagila (qui signifie Réjouissons-nous) est sans aucun doute la chanson traditionnelle hébra que de style klezmer la plus connue de toutes.La musique klezmer est née dans les shtetl (villages) et les ghettos d’Europe de l’Est, où les baladins juifs ambulants, appelés klezmorim, célébraient toutes sortes de cérémonies, en particulier les mariages, et ce depuis le début du Moyen- ge.Le terme yiddish klezmer est la combinaison de deux mots : klei, que l’on peut traduire par instrument et zemer qui veut dire chanson. Cette tradition musicale tire ses origines dans les mélodies profanes, les danses populaires, la musique juive hazanout (musique vocale) ainsi que les nigunim,les mélodies sans paroles entonnées par les hassidim (juifs orthodoxes).Au cours du XVIe siècle, les paroles ont été ajoutées la musique klezmer, afin d’illustrer le rôle du badkhn (le maître de cérémonie lors des mariages), le pourim-shpil (monologue où est paraphrasé le livre d’Esther) ou encore les traditions liées au thé tre yiddish, mais le terme est progressivement devenu synonyme de musique instrumentale, en particulier dans une interprétation au violon et la clarinette.La mélodie Hava Nagila a été adaptée partir d’une danse folklorique de la région roumaine de Bucovine. Le texte, couramment utilisé, est extrait du Psaume 118 de la bible hébra que.

SKU: OT.37019SET

8.27 x 11.69 inches.

Lev Kogan
Klezmer Dance Suite for clarinet, strings, percussion, and tuba
arranged by Alan Kaufman, with cadenzas by Gene Kavadlo
Score and one copy each part
I have been Principal Clarinetist with the Charlotte Symphony Orchestra, North Carolina, since 1975. My interest in klezmer music began in 1984 when I realized how unique the clarinet voice can be in the klezmer idiom - it is totally different from playing in a symphony orchestra, and I found that unique voice to be very appealing. I formed a quartet called Viva Klezmer!, and we have been concertizing and recording ever since.
I discovered Lev Kogan's Hassidic Tunes for Clarinet and Piano a number of years ago and was struck by the lovely melodies and harmonies that Mr. Kogan had composed. The tunes were always enjoyed by audiences whenever I performed them, and it occured to me that several of them could be orchestrated and grouped together to form a very attractive klezmer suite. I enlisted the aid of my talented colleague, Alan Kaufman, and the result is this publication. There is dearth of klezmer music featuring clarinet with orchestra or chamber ensemble, and this publication helps fill that void.
The suite can be performed with orchestra or, if percussion and tuba are unavailable, as chamber music with clarinet and strings. In the absence of tuba, the part may be played by another bass instrument.
Gene Kavadlo
Lev Kogan (1927-2007) was born in Baku, Azerbaijan, and immigrated to Israel in 1972. Kogan attended the Moscow State Conservatory from 1946-1952 where he studied piano and was a composition of Aram Khatchturian. He has devotred much time to the research, creation and performance of Jewish music. In Israel, he has composed many productions for the Yiddish theater and Chassidic, Yiddish songs and chamber music.
Originally from New York State, Alan Kaufman graduated from Potsdam State University with a Bachelor's Degree in Music Education and a Master's Degree in Music Performance in Percussion. Since then, he has been a performer, arranger, educator, producer and composer of commercial jingles, recordings and movie and television soundtracks. He has produced albums and/or has arranged for an array of groups from The Buddy Rich Band to performing with artists as diverse as Luciano Pavoratti and Bernadette Peters, to Dave Brubeck and Johnny Cash. Since 1978, Alan has resided in Charlotte, NC where he continues his musical journey.

SKU: OT.37019PARTS

8.27 x 11.69 inches.

Lev Kogan
Klezmer Dance Suite for clarinet, strings, percussion, and tuba
arranged by Alan Kaufman, with cadenzas by Gene Kavadlo
Set of parts
There is also an edition for small ensemble including a score and one copy each part, SKU 37019set
I have been Principal Clarinetist with the Charlotte Symphony Orchestra, North Carolina, since 1975. My interest in klezmer music began in 1984 when I realized how unique the clarinet voice can be in the klezmer idiom - it is totally different from playing in a symphony orchestra, and I found that unique voice to be very appealing. I formed a quartet called Viva Klezmer!, and we have been concertizing and recording ever since.
I discovered Lev Kogan's Hassidic Tunes for Clarinet and Piano a number of years ago and was struck by the lovely melodies and harmonies that Mr. Kogan had composed. The tunes were always enjoyed by audiences whenever I performed them, and it occured to me that several of them could be orchestrated and grouped together to form a very attractive klezmer suite. I enlisted the aid of my talented colleague, Alan Kaufman, and the result is this publication. There is dearth of klezmer music featuring clarinet with orchestra or chamber ensemble, and this publication helps fill that void.
The suite can be performed with orchestra or, if percussion and tuba are unavailable, as chamber music with clarinet and strings. In the absence of tuba, the part may be played by another bass instrument.
Gene Kavadlo
Lev Kogan (1927-2007) was born in Baku, Azerbaijan, and immigrated to Israel in 1972. Kogan attended the Moscow State Conservatory from 1946-1952 where he studied piano and was a composition of Aram Khatchturian. He has devotred much time to the research, creation and performance of Jewish music. In Israel, he has composed many productions for the Yiddish theater and Chassidic, Yiddish songs and chamber music.
Originally from New York State, Alan Kaufman graduated from Potsdam State University with a Bachelor's Degree in Music Education and a Master's Degree in Music Performance in Percussion. Since then, he has been a performer, arranger, educator, producer and composer of commercial jingles, recordings and movie and television soundtracks. He has produced albums and/or has arranged for an array of groups from The Buddy Rich Band to performing with artists as diverse as Luciano Pavoratti and Bernadette Peters, to Dave Brubeck and Johnny Cash. Since 1978, Alan has resided in Charlotte, NC where he continues his musical journey.

SKU: AP.1-ADV8446

UPC: 805095084467. English.

Klezmer is the Yiddish word for musician, and is commonly used to refer to Jewish traditional music. Originating from Eastern Europe, Klezmer music played an important part during Jewish festivals and celebrations, and clearly reveals musical influences from the Balkan and Slavic regions. This Klezmer Suite is arranged by Coen Wolfgram for 4 clarinets (3 clarinets in B-flat & bass clarinet in B-flat).

SKU: HL.48025477

ISBN 9781784549107. UPC: 196288278160. 9.0x12.0x0.22 inches.

A superb collection of Edward Huws Jones' wonderful arrangements of traditional Jewish music of celebration for clarinet. Klezmer Clarinet, Edward Huws Jones' faithful arrangements of traditional klezmer music, contains sixteen pieces full of energetic Jewish music of celebration. It is available in two formats: the Complete Edition and the Clarinet Edition. Both formats are highly flexible, which means this exciting music can be played as solos, duets or trios as well as with larger ensembles. Six pieces in Klezmer Clarinet are compatible with the versions for violin in Klezmer Fiddler. Edward Huws Jones is the author of many highly successful collections of ethnic music. He has travelled extensively, researching andtranscribing the traditional music of other cultures.

SKU: FH.WC0

ISBN 978-1-55440-576-3.

This new series offers a sequenced approach to the study of clarinet from the beginner to advanced levels. With a progressive collection of Repertoire, Etudes, Recordings, Orchestral Excerpts, and Technique, the Clarinet Series, 2014 Edition provides complete support for teachers and students at every level of study. Nine progressive volumes of Repertoire expose students to a wealth of music from the earliest works for clarinet to accompanied and unaccompanied contemporary compositions. Students will explore some of the most definitive solo pieces written for clarinet, along with popular folk tunes, Klezmer melodies, Classical solos, and contemporary compositions that incorporate traditional and extended techniques.
Technical Repertoire:
Gigue - Georg Philipp Telemann, arr. Jason Noble
Bouree anglaise - George Frideric Handel, arr. Stephen Chatman
Computer Game - Paul Harris
Wolsey's Wilde - William Byrd, arr. Jason Noble
Mairi's Wedding (Lewis Bridal Song) - Traditional Gaelic melody, arr. Christine Donkin
Polka-dot Rag - Jazz standard, arr. Paul Harris
The King's March, T 432 - Jeremiah Clarke, arr. Jason Noble
Lyrical Repertoire:
Austrian Hymn (Gott erhalte Franz den Kaiser), Hob. XXVIa: 43 - Franz Joseph Haydn, arr. Jason Noble
The Huron Carol - 16th-century French, arr. Martin van de Ven
Air, from The Double Dealer - Henry Purcell, arr. James Rae
Reverie - Claude Debussy, arr. Jason Noble
Ode to Newfoundland - Hubert Parry, arr. Christine Donkin
Londonderry Air - Irish folk song, arr. Harold Birston
Tumbalalaika - Jewish folk song, arr. Martin van de Ven and Christine Donkin.

SKU: CF.CPS264

ISBN 9781491161418. UPC: 680160920006.

Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement. Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn't know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced tro-PAHN-kuh) is a folk dance from Bulgaria, and the title means stomping dance. One can hear two repeated notes at the end of each phrase - this is where the dancers stomp. Patsh Tantz (pronounced PAHTSH tahnts) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for clapping dance, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end. Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the earthy character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.
Some of the first music I remember hearing as a child was folk dance music from around the world. My parents were avid folk dancers, and they used to host weekly folk dance evenings in our basement.  Some nights, when I was supposed to be in bed, I would stand with my ear to the door, listening to this fascinating music that drifted up the stairs. I didn’t know what each piece was, but the melodies have stayed with me. Tropanka is one of those tunes. Tropanka (pronounced “tro-PAHN-kuh”) is a folk dance from Bulgaria, and the title means “stomping dance”. One can hear two repeated notes at the end of each phrase – this is where the dancers stomp. Patsh Tantz (pronounced “PAHTSH tahnts”) is a classic example of Klezmer, which is East European Jewish folk music. The title is Yiddish for “clapping dance”, and all the players get the chance to clap at certain points in their individual part. Klezmer music is often quite exciting, and this arrangement includes the characteristic accelerando, building excitement as the piece drives to the end.Both movements should be played rhythmically, and as it is folk music that would be danced to by untrained dancers, often wearing boots or other flat-soled shoes, adding weight to many of the downbeats will help bring out the “earthy” character of the music. Since my parents met while folk dancing, I made these arrangements (originally in a version for string quartet) as a gift in celebration of their 50th wedding anniversary.