Re: Eyn Keyloheynu

[glenn tamir <klezska...>]

I enjoyed Shirona's Ein Keloheinu melody so much that
I borrowed it for the bassline in a song I call Ein
Fiddler as part of my Klezska music
(www.mp3.com/klezska)  I took that bassline and
combined it with the melodies from the songs Fiddler
on the Roof and Tradition.

If you haven't heard Shirona's music, it's at
www.mp3.com/shirona

Glenn Tamir

--- Lori Cahan-Simon <l_cahan (at) staff(dot)chuh(dot)org> wrote:
> Ever since Shirona's visit to our shul we have been
> singing her lovely version
> every week, and we love it!
> Lorele
> 
> Robert Cohen wrote:
> 
> > Wonderfully thorough and enlightening--Thank you!
> >
> > It's disquieting that some of the sources that we
> look to as authoritative
> > in themselves are not always faithful, apparently,
> to the evidence.
> >
> > Now we can move on to the really important issue,
> which is:  What
> > else--other than this dreadfully uninspired
> sing-song--can we sing Ein
> > Kelokeinu *to*?
> >
> > Actually, Shlomo had a wonderful one (maybe one of
> his later melodies--not
> > sure); more to come on that anon.  Arba'ah Kolot
> recorded a pleasant enough,
> > but not deeply inspiring, one--though maybe only
> Shlomo could come up with a
> > melody that transcends the rather simple (even if
> profound in meaning) text
> > and send you soaring.  Or Hakesef, if I'm
> remembering the name right,
> > recorded a fine, bracing Sephardic melody, which
> is no doubt recorded on
> > some Sephardic albums, probably some of which I
> have.  And I think Isabelle
> > (?) recorded another with Alhambra?
> >
> > Do others know of/daven to inspiring alternative
> Ein Kelokeinus?
> >
> > --Robert Cohen
> >
> > >From: Sam Weiss <samweiss (at) bellatlantic(dot)net>
> > >Reply-To: jewish-music (at) shamash(dot)org
> > >To: World music from a Jewish slant
> <jewish-music (at) shamash(dot)org>
> > >Subject: Eyn Keyloheynu and other drinking songs
> > >Date: Tue, 15 May 2001 01:01:51 -0400
> > >
> > >The innocent ur-text on which the rumor is based
> (and the only useful
> > >information
> > >I've seen on the tune or the composer) is this
> passage from p. 238 of
> > >Idelsohn's
> > >"Jewish Music in its Historical Development," in
> which I've capitalized
> > >the most
> > >relevant sentence:
> > ><<The Chazzan Hirsch Goldberg (1807-1893) served
> [in Seesen from
> > >1833] until 1842 and was then appointed Chazzan
> in Brunswick. Together
> > >with Julius Freudenthal (Brunswick 1805-1874),
> Dukal musician, he
> > >modernized the Synagogue song and published in
> 1843 a collection of
> > >songs for solo and small choir in two parts
> [footnote: 'The title of the
> > >collection is Gesaenge fuer Synagogen. It became
> very popular and
> > >experienced several enlarged editions.']. To this
> songster Freudenthal
> > >contributed several tunes, and especially his
> famous tune for En Kelohenu,
> > >which he had composed in 1841. THIS TUNE HAS THE
> TYPICAL
> > >GERMAN MELODIC LINE, AND IN ITS FIRST PART
> RESEMBLES A
> > >GERMAN MELODY OF 1774 (No.1) (see table XXIX),
> which was reworked
> > >in 1819 and in 1844 (No.3) and published in
> 1844.>>
> >
> >
>
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