Re: Last response from Lori on this subject

[George Robinson <GRComm...>]

Khaverim:

        I've been assiduously avoiding this thread for a number of reasons not
the least being that as a white Jewish guy who has sung jazz, I'm not
entirely comfortable discussing issues of authenticity, as you can
imagine. But also because there are just too many open wounds, still
painful to the touch, and justifiable resentments operating here for a
dispassionate discussion. When a family member said to me that she was
tired of hearing complaints about the Holocaust (I was, needless to say,
appalled) I reminded her that this was not a long-ago grievance but one
whose victims were still very much alive. Which ended the argument.
        However, I do feel obliged to make one observation:
        Aufwind and Kol Simcha (I know, they're Swiss, not German, although
recent events suggest the difference isn't as great as you thought) are
both sincere and earnest, but their music is -- at its best -- cerebral
and a bit airless. 
        The problem, I suspect, is a musical one, best summed up by a famous
Mark Twain anecdote. Olivia, his wife, was berating him for his colorful
language once and repeated a string of expletives that he had uttered
moments before. Twain listened intently, then replied, "Well, dear,
you've got the right words, but you just don't have the rhythm."
        
George Robinson


apikoyros (at) juno(dot)com wrote:
> 
> Lori,
> I don't know you. If you're the person I
> think you are (not some other Lori), you've
> been playing Jewish music, not necessarily
> klezmer for a long time, and I respect that
> ('cause the big bucks weren't always there).
> 
> I don't care how big the bucks are now that
> you're getting paid with. We all know what
> to call someone who takes money for services
> rendered: a professional. If that professional
> aspires to artistry or, as in the case of some
> Jewish music, a spiritual dimension, the activity
> has to get beyond the money and the technical
> virtuosity to the purpose and meaning of the
> activity. None of these three aspects is trivial,
> as anyone who has practiced will attest.
> 
> Klezmer music in Germany partakes of
> the first two aspects, certainly. Even the
> third is achievable, and, arguably, Jewish
> artists performing to German audiences
> might be able to convey some spirituality
> (if there is any in their performances).
> German musicians can convey their
> feelings and spirituality as well in the
> other kinds of music they play, but in
> the context of klezmer music? All it
> can/does convey is inauthenticity at best,
> inaccuracy (even if all the notes and
> tunes are right), and, finally, intrusion
> where such intrusion has the history
> of the Holocaust as visible baggage.
> 
> I am not faulting anyone specifically, just
> asking for the sensitivity that, as much as
> it has been attempted, has not been sufficient.
> And sensitivity is NOT to much to ask of those
> who have artistic pretensions.
> 
> I don't know Aufwind either but I've
> heard "character references" I respect
> so I'm reasonably sure that it was not
> their intent, but if you attempt to describe
> an Aufwind with a hand gesture, you get a
> Nazi salute. Could it be an "in" joke,
> coincidence, a Nike endorsement, who knows?
> But if they want to play Jewish music, the
> coincidence is grotesque. Music macht frei
> und Schweigen ist Tod, indeed! Jewish
> musicians aren't immune from unfortunate
> coincidences either.
> 
> Watch your symbols carefully, see how they
> play. Isn't that what's being sold, after all.
> I try to be careful about what I buy.
> Lee
> 
> On Tue, 29 Feb 2000 23:45:07 EST MaxwellSt (at) aol(dot)com writes:
> > Dear Lee,
> >
> > Thank you for expressing yourself in a civil tone.
> >
> > << I'm glad you can separate the music you play from the "Memories
> > of the
> > Fallen."
> > I would think that that particular kind of music would evoke exactly
> > such
> > memories,
> > however. >>
> >
> > That is certainly a misunderstanding.  I cannot separate it--it is
> > the
> > essence not only of my music, but of my life.  I don't eat meat, I
> > don't wear
> > leather because the cruelty of the holocaust so permeated my
> > consciousness
> > from an early age that I live aware of an undertow of horror in the
> > world,
> > and I play this music because it helps me revive the mystical soul
> > of my
> > people when the body cannot be revived.  What I meant was that it is
> >
> > difficult to discuss music when one's respect for the dead (in this
> > case, the
> > respect that the German musicians hold) is being questioned, sort of
> > in the
> > way that patriotism is questioned in front of the House UnAmerican
> > Activities
> > Committee.  It was getting a little stifling in there.
> >
> > << I don't think the technical virtuosity of your band's
> > musicianship or the
> > unique clarinetor violin solos, whatever, are the reasons why you're
> > getting
> > paid the big bucks (in Deutschmarks). >>
> >
> > Let's correct a misapprehension--we are not getting paid big bucks.
> > I would
> > be happy to get into those details off group if you like.  My
> > comment was
> > meant to point out that, not only are Germans paying lip service to
> > the
> > revival of klezmer, they are separating from their tax dollars to
> > support it.
> >  Now try to get Congress to do the same.  We are busy burying our
> > NEA, and
> > the Germans are spending tax dollars to bring in klezmer bands from
> > America.
> > Catch you not the irony?
> >
> > << Now, I know a lot of Jewish performers whom I respect do tour
> > Germany and
> > other relatively Judenrein parts of Europe. I can't begrudge someone
> >
> > parnosse,
> > whether it's earned at simkhas or in the concert halls, but I think
> > the
> > specific
> > ethnic character of the music we're talking about is essential to
> > it, whereas
> > Shostakovich or Prokofiev or even Bloch could be said just to be
> > basing their
> > music on Jewish themes. >>
> >
> > I find it very comforting and touching to be invited to perform
> > Jewish music
> > in the lands in which it was eradicated and where my presence a
> > half-century
> > ago would have been the cause of my death.  It gives me hope in the
> > evolution
> > of good and the recovery, I hope, of people from the demonic.
> >
> > Thanks for your thoughts.
> >
> > Lori
> 
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