Re: Do we need printed klezmer music?

[Cantorkenr <Cantorkenr...>]

In a message dated 6/7/00 6:23:32 AM, you wrote:

<<
-- Budowitz Home Page: http://www.merlinms.dircon.co.uk/budowitz/

Just wanted to relate a situation report from the Klezmer front lines:

I have been trying for some time to find a publisher who would take on one
of the largest main out-of-print collections of klezmer music which I have
in my collection. While I have no problems with receiving rejections for
projects (95% of all of my proposals are rejected, that's nothing new) this
one stood out in particular. A letter from a major German publisher, in
translation, went as follows:

"After careful consideration of your proposal to publish a collection of
klezmer tunes with our house, we have come to the following conclusion:
Basically we have observed that klezmer music has shown an incalculable
upward trend, which is brought to our ears on a worldwide scale by excellent
ensembles such as your own. This means that the professional offering of
klezmer is taken on by routined musicians and has the effect of being
authentic only when played by these. For this reason, a large printed
edition of klezmer music would only be intended for this target group of
specialists, who play either by memory, or they already have these tunes in
their repertoire from long ago and won't need a collection of such pieces in
any great amount....We also think that those interested in klezmer music
will not look for it in "our publishing house" but will go to a publisher
who specializes in folklore music in a wide sense...we therefore must reject
your proposal and ask for your understanding for our decision."

Any comments? Josh Horowitz>>

When I put out my "Klezmer Band Folio" with Tara, I did think it was ironic 
that I was publishing music for a repertoire which I think is best learned 
and played by ear.  However, without printed music, much wonderful repertoire 
is either lost or is played by a tiny subset of the klezmer community.  
Practically every song in the "Compleat Klezmer" is a standard, and (correct 
me if I'm wrong) I believe they are standards because they are in the 
Compleat Klezmer, and not the other way around.  Fortunately, Henry Sapoznik 
had good taste in picking the standards of the future.  

If I understand the rejection letter correctly, it seems to imply that only 
musicians of a certain caliber should have access to parts of the repertoire, 
a notion which seems much more elitist-German than socialist-Arbeiter Ring.  
And in any case, I think musicians of all stripes crave access to 
undiscovered music and keep a collection of fakebooks around, even if we try 
not to use them.  

            Ken

Cantor Ken Richmond
c/o Temple Israel
837 Humphrey St.
Swampscott, MA 01907
781-595-6635

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