Re: KLEZMER FESTIVAL

[Joshua Horowitz <horowitz...>]

Hi Moshe,

nice to hear from you again. We were invited to the Zfat festival, and
offered some money too, but they couldn't pay for travel. I tried for
weeks to find sponsors, but we couldn't find anyone, so we'll be coming
next year. I remember those Israeli audiences when I played with Joel at
the Zfat festival in 1993. Quite a group. Once they warmed up they were
great. 

Is there an accordionist in Sulam? I've just been asked to write the
chapter on Yiddish Accordion of Christoph Wagner's next book on the
accordion, which is to be published by Schott Publishers this year. The
same chapter has been preliminarily accepted for publication in the
first issue of the magazine Free Reed, published by the City Univ. of
New York and I could use your help: 

I'm trying to gather information for the article, which although dealing
with themes pertaining to early Yiddish performers and my own personal
thoughts about the accordion in Jewish music, will also include themes
pertaining to contemporary performers, their instruments and approach.
Since you've been an important figure in the Yiddish accordion scene, I
would need any or all of the following about accordionists in the
Israeli scene (you can pass this questionnaire on to anyone you know:

1) The type of accordion used (be as precise and informative as
possible) and the name of the klezmer group(s) you play in and where
they are based 

2) Information about you and your relationship to the accordion, how you
use it in Jewish music. Personal thoughts about your approach. What
makes you unique.

3) What brought you to play accordion (were you previously a pianist,
etc) and how did you come to decide to use it for Yiddish music.

4) Do you specialize or dabble in other styles besides Yiddish music

5) Did you learn accordion from a teacher or are you self taught

6) Do you have any pictures, anecdotes, road stories or things of
interest which would relate to the accordion in the context of Yiddish
music

7) How is your instrument percieved by colleagues, by your fans, etc.

8) Basically anything at all that you would like to see in an article on
Yiddish accordion

you can answer as many of these questions as you want. What I am really
interested in is something unusual, interesting or personal, which can
liven up the chapter and give it profile.

Since the payment I am being offered hardly even covers my postal and
work expenses (this is really a labor of love in the truest sense) I
can't offer anything material. I can only assure that any information I
use will be credited precisely to the person who gave it to me in the
text, either as a footnote or in the body of the text. The length of the
chapter will be about 20 pages, so I can't guarantee that I can use what
I receive. I know that sounds vague and irresponsible, but it would be
misleading if I didn't mention it. I can only say that I'll try to use
as much as I can.

I have to turn the article in at the beginning of September. Needless to
say, I would need any information you have as soon as humanly possible.
The article will be written in English, but will be translated into
German for the German book, so there is hardly any time left. So even if
you only have a few minutes to jot something down for me, your thoughts
and ideas would really be great.

Keep in touch, Moshe. At some point, it would be nice to play together.
We wrote about it some time ago, and I've often though about it. Yours,
Joshua 

PS. Send any hard copy materials to:

Joshua Horowitz
Haydngasse 1
A-8010 Graz, Austria
Tel/fax (011-43-316) 82-45-98

or email to:  horowitz (at) styria(dot)com


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