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RE: JEWISH-MUSIC digest 2784
- From: Yoel Epstein <yoel...>
- Subject: RE: JEWISH-MUSIC digest 2784
- Date: Fri 14 Nov 2003 05.30 (GMT)
____________________________________________
joel epstein
moshav magshimim 56910
israel
972-3-9333316
972-52-333316
972-3-7255889 (fax)
yoel (at) netvision(dot)net(dot)il
____________________________________________
> -----Original Message-----
> From: owner-jewish-music (at) shamash(dot)org
> [mailto:owner-jewish-music (at) shamash(dot)org]On Behalf Of World music from
> a
> Jewish slant
> Sent: Friday, November 14, 2003 7:09 AM
> To: World music from a Jewish slant
> Subject: JEWISH-MUSIC digest 2784
>
>
> JEWISH-MUSIC Digest 2784
>
> Topics covered in this issue include:
>
> 1) Klezmer Mountain Boys in the Forward
> by "Sandra Layman" <sandralayman (at) earthlink(dot)net>
> 2) JEWISH MUSIC
> by "Shlomo Shamir" <shlo-sha (at) bezeqint(dot)net>
> 3) Songs from the Attic
> by itzik gottesman <gottesman (at) yiddish(dot)forward(dot)com>
> 4) Re: Klezmer Mountain Boys in the Forward
> by " " <margotlev (at) OpexOnline(dot)com>
> 5) JEWISH MUSICS
> by "Shlomo Shamir" <shlo-sha (at) bezeqint(dot)net>
> 6) Re: JEWISH MUSICS
> by mashke (at) comcast(dot)net
> 7) Re: JEWISH MUSICS
> by Ari Davidow <ari (at) ivritype(dot)com>
> 8) Re: Milken conference
> by Ari Davidow <ari (at) ivritype(dot)com>
> 9) incredible strauss/warschauer concert; next on Dec 8
> by Ari Davidow <ari (at) ivritype(dot)com>
> 10) Re: Songs from the Attic
> by Sam Weiss <SamWeiss (at) bellatlantic(dot)net>
> 11) incredible strauss/warschauer concert; next on Dec 8
> by "sefirah (at) earthlink(dot)net" <sefirah (at) earthlink(dot)net>
> 12) Re: Milken conference/+shers
> by AGREENBA (at) aol(dot)com
> 13) Re: Milken conference/+shers
> by Jordan Hirsch <trombaedu (at) earthlink(dot)net>
> 14) Re: Milken conference/+shers
> by AGREENBA (at) aol(dot)com
> 15) Re: incredible strauss/warschauer concert; next on Dec 8
> by "r l reid" <ro (at) panix(dot)com>
> 16) Re: Milken conference/+shers
> by "Judith Pinnolis" <pinnolis (at) brandeis(dot)edu>
> 17) Re: Milken conference/+shers
> by Ari Davidow <ari (at) ivritype(dot)com>
> 18) Re: Songs from the Attic
> by Klezcorner (at) aol(dot)com
> 19) +shers
> by "Steve Weintraub" <dancinsteve (at) comcast(dot)net>
> 20) Fwd: A Yiddish Lesson
> by cyril robinson <lunar (at) siu(dot)edu>
> 21) Re: +shers
> by Ari Davidow <ari (at) ivritype(dot)com>
> 22) Re: +shers
> by AGREENBA (at) aol(dot)com
> 23) Re: Klezmer Concertos and Encores
> by Sam Weiss <SamWeiss (at) bellatlantic(dot)net>
> 24) Re: +shers
> by "Steve Weintraub" <dancinsteve (at) comcast(dot)net>
> 25) Re: Quartertones in cantorial music
> by Sam Weiss <SamWeiss (at) bellatlantic(dot)net>
> 26) Fish Street Klezmer -- New CD!
> by Vladimir Liberman <vovka0 (at) gis(dot)net>
> 27) Re: +shers
> by winklerh (at) hotmail(dot)com
> 28) Re: +shers+shining
> by AGREENBA (at) aol(dot)com
>
> ----------------------------------------------------------------------
> Message-ID: <01e801c3a9c2$36645340$bdf1bf3f (at) earthlink(dot)net>
> From: "Sandra Layman" <sandralayman (at) earthlink(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Klezmer Mountain Boys in the Forward
> Date: Thu, 13 Nov 2003 00:43:28 -0800
> MIME-Version: 1.0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: 7bit
>
> Mazal tov, Margot Leverett!
> ****
>
> http://www.forward.com/issues/2003/03.11.14/arts3.html
>
> NOVEMBER 14, 2003
>
> Mixing Mountain Musics
> How One Band Combines Klezmer and Bluegrass
>
> By JON KALISH
>
>
>
> ------------------------------
> Message-ID: <000e01c3a9d2$fe597e10$0101c80a (at) shlosha>
> From: "Shlomo Shamir" <shlo-sha (at) bezeqint(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: JEWISH MUSIC
> Date: Thu, 13 Nov 2003 12:43:36 +0200
> MIME-Version: 1.0
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>
> I would like listen to old jewish musics, ehere may I find them ?
> Regards=20
> Shlomo
> shlo-sha (at) bezeqint(dot)net
>
>
> ------=_NextPart_000_000B_01C3A9E3.C1BC2870
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> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3D"text/html; charset=3Dwindows-1=
> 255">
> <META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR>
> <STYLE></STYLE>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV><FONT face=3DArial size=3D2>I would like listen to old jewish musics=
> , ehere may=20
> I find them ?</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Regards </FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Shlomo</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>shlo-sha (at)
> bezeqint(dot)net</FONT></DIV></BODY=
> ></HTML>
>
>
> ------=_NextPart_000_000B_01C3A9E3.C1BC2870--
>
>
> ------------------------------
> Mime-Version: 1.0
> Message-Id: <a05100301bbd93ed6c7d3 (at) [192(dot)168(dot)2(dot)28]>
> Date: Thu, 13 Nov 2003 09:01:36 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: itzik gottesman <gottesman (at) yiddish(dot)forward(dot)com>
> Subject: Songs from the Attic
> Content-Type: text/plain; charset="us-ascii" ; format="flowed"
>
> I saw the four volumes of "Songs from the Attic" listed at Hatikvah
> and they are quite a collection. Who produced them and is the quality
> any good? - Itzik Gottesman
>
>
> ------------------------------
> Date: Thu, 13 Nov 2003 14:42:21 +0000
> Message-Id: <200311131442(dot)AA2414805020 (at) opexonline(dot)com>
> Mime-Version: 1.0
> Content-Type: text/plain; charset=us-ascii
> From: " " <margotlev (at) OpexOnline(dot)com>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: Klezmer Mountain Boys in the Forward
>
> thank you Sandra!
> ---------- Original Message ----------------------------------
> From: "Sandra Layman" <sandralayman (at) earthlink(dot)net>
> Reply-To: jewish-music (at) shamash(dot)org
> Date: Thu, 13 Nov 2003 00:43:28 -0800
>
> >Mazal tov, Margot Leverett!
> >****
> >
> >http://www.forward.com/issues/2003/03.11.14/arts3.html
> >
> >NOVEMBER 14, 2003
> >
> >Mixing Mountain Musics
> >How One Band Combines Klezmer and Bluegrass
> >
> >By JON KALISH
> >
> >
> >
> >
>
> --
> Margot Leverett
> NEW e-mail address:
> Margotlev (at) opexonline(dot)com
> (718) 545-9404
> www.KlezmerMountainBoys.com
>
> --
>
>
> ------------------------------
> Message-ID: <002e01c3a9f6$97547750$0101c80a (at) shlosha>
> From: "Shlomo Shamir" <shlo-sha (at) bezeqint(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: JEWISH MUSICS
> Date: Thu, 13 Nov 2003 16:58:26 +0200
> MIME-Version: 1.0
> Content-Type: multipart/alternative;
> boundary="----=_NextPart_000_002B_01C3AA07.5ABBB590"
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_002B_01C3AA07.5ABBB590
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> charset="windows-1255"
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>
> I am looking for jewish songs and musics.
> Iam hoping to listen to some ones too and not only geting sea of words an=
> d speeches abot musics.
> Where may I find and listen to this nice musics ?
> Shlomo
>
>
> ------=_NextPart_000_002B_01C3AA07.5ABBB590
> Content-Type: text/html;
> charset="windows-1255"
> Content-Transfer-Encoding: quoted-printable
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> <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3D"text/html; charset=3Dwindows-1=
> 255">
> <META content=3D"MSHTML 6.00.2600.0" name=3DGENERATOR>
> <STYLE></STYLE>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV><FONT face=3DArial size=3D2>I am looking for jewish songs and=20
> musics.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Iam hoping to listen to some ones too an=
> d not only=20
> geting sea of words and speeches abot musics.</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Where may I find and listen to this nice=
> musics=20
> ?</FONT></DIV>
> <DIV><FONT face=3DArial size=3D2>Shlomo</FONT></DIV></BODY></HTML>
>
>
> ------=_NextPart_000_002B_01C3AA07.5ABBB590--
>
>
> ------------------------------
> From: mashke (at) comcast(dot)net
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: JEWISH MUSICS
> Date: Thu, 13 Nov 2003 15:39:13 +0000
> Message-Id: <111320031539(dot)24126(dot)53ee (at) comcast(dot)net>
>
> Try www.princeton.edu/zemerl
>
> It has not only the words in either Hebrew or Yiddish (with
> English translations), it has clips or even entire songs in
> variouos formats so you can hear them.
>
> Dick Rosenberg
>
>
> ------------------------------
> Message-Id: <6(dot)0(dot)0(dot)22(dot)0(dot)20031113104913(dot)02969db8 (at)
> mail92(dot)pair(dot)com>
> Date: Thu, 13 Nov 2003 10:50:44 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Ari Davidow <ari (at) ivritype(dot)com>
> Subject: Re: JEWISH MUSICS
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> At 09:58 AM 11/13/2003, you wrote:
> >I am looking for jewish songs and musics.
> >Iam hoping to listen to some ones too and not only geting sea of
> words and
> >speeches abot musics.
> >Where may I find and listen to this nice musics ?
>
>
> It's a hard question to answer. What sort of Jewish music - cantorial?
> classical? yiddish or sephardic folk? modern American or Israeli
> spiritual
> tunes or pop? - And that's just the first random categories that
> come to mind.
>
> What does "Jewish songs and music" mean to you?
>
> ari
>
>
>
> Ari Davidow
> ari (at) ivritype(dot)com
> list owner, jewish-music (at) shamash(dot)org
> the klezmer shack: http://www.klezmershack.com/
>
>
> ------------------------------
> Message-Id: <6(dot)0(dot)0(dot)22(dot)0(dot)20031113105111(dot)029684a0 (at)
> mail92(dot)pair(dot)com>
> Date: Thu, 13 Nov 2003 10:57:03 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Ari Davidow <ari (at) ivritype(dot)com>
> Subject: Re: Milken conference
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> I'm hoping to untangle my notes and post them to the KlezmerShack
> over the
> next few days, but I think that Elliot Kahn has already written
> that there
> wasn't anything about Shoenberg in Babbit's panel (or nothing more than
> parenthetical comments). The talk on Bloch was very interesting,
> but rushed
> - caught between an overlong 2nd presentation, and the need to present a
> 5pm concert as close to 5pm as possible. One consequence is that Babbit
> spoke less than one hoped, and when he spoke, it was to Jewish geography.
>
> As Elliot has already written, that concert was a short piece by Yehudi
> Weiner, preceded by a short talk, and some examples of some songs by his
> father. It was stunning.
>
> ari
>
> At 12:10 AM 11/12/2003, you wrote:
> > Could somebody attending "Only in America" on Monday (about
> Schoenberg with
> >Babbitt as moderator) as well as Tuesday, give us a report? Or is there a
> >way to find info about it on line?
> >
> >Thanks!
> >Sylvie
> >
>
>
> ------------------------------
> Message-Id: <6(dot)0(dot)0(dot)22(dot)0(dot)20031113105832(dot)029554a8 (at)
> mail92(dot)pair(dot)com>
> Date: Thu, 13 Nov 2003 11:04:58 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Ari Davidow <ari (at) ivritype(dot)com>
> Subject: incredible strauss/warschauer concert; next on Dec 8
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> Before I get back to work, I do want to note that the Strauss/Warschauer
> presentation at Columbia on Monday night was exceptional. Mark
> Slobin even
> referred to it in his talk at the Milken conference the next day. Zev
> Feldman talked a bit about his music, and about some klezmer pieces; Jeff
> and Deborah spoke, Steve Greenman came in from Cleveland and presented a
> new piece, Josh Waletzky was there to speak to a piece of his
> that they played.
>
> That the playing was incredible could go without saying. But the intimate
> atmosphere of hearing everyone discuss the music, and learning
> the music -
> things like Deborah commenting on things she noticed learning to
> play shers
> (the need to ensure that each new segment ends/starts in time for the
> dancers) were intimate, wonderful, and illuminating.
>
> It was the sort of evening that reminds us that amazing new Yiddish music
> is being written, and demonstrates how good that feels on the ears.
>
> As to everyone at the event who swore that they were going to post to the
> list immediately .....
>
> There is one more concert in the series, this one featuring Jeff and
> Deborah with the Columbia U. Klezmer Band. It is on December 8.
> If you are
> in NYC, or can be there, I recommend that it not be missed.
>
> ari
>
> Ari Davidow
> ari (at) ivritype(dot)com
> list owner, jewish-music (at) shamash(dot)org
> the klezmer shack: http://www.klezmershack.com/
>
>
> ------------------------------
> Message-Id: <5(dot)2(dot)0(dot)9(dot)0(dot)20031113110203(dot)04df01e0 (at)
> incoming(dot)verizon(dot)net>
> Date: Thu, 13 Nov 2003 11:13:08 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Sam Weiss <SamWeiss (at) bellatlantic(dot)net>
> Subject: Re: Songs from the Attic
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> At 09:01 AM 11/13/03, itzik gottesman wrote:
> >I saw the four volumes of "Songs from the Attic" listed at Hatikvah and
> >they are quite a collection. Who produced them and is the quality any
> >good? - Itzik Gottesman
>
>
> I wonder if these are a repackaging of the 10-volume collection "Yiddishe
> Momme" from Russia peddled on this list about a year and a half ago.
>
> _____________________________________________________________
> Cantor Sam Weiss === Jewish Community Center of Paramus, NJ
>
>
>
> ------------------------------
> Message-ID:
> <25938791(dot)1068741815370(dot)JavaMail(dot)root (at)
> dewey(dot)psp(dot)pas(dot)earthlink(dot)net>
> Date: Thu, 13 Nov 2003 08:43:34 -0800 (GMT-08:00)
> From: "sefirah (at) earthlink(dot)net" <sefirah (at) earthlink(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: incredible strauss/warschauer concert; next on Dec 8
> Mime-Version: 1.0
> Content-Type: text/plain; charset=us-ascii
> Content-Transfer-Encoding: 7bit
>
> That sounds excellent, and I can't wait until Los Angeles gets a
> bisl Jeff and Deborah at the Yiddish Institute program during the
> week of December 14-20!!! As usual, we'll welcome you with open
> arms! That week is going to be insane here because we're also
> getting the Klezmer Conservatory Band at the brand new Disney
> Music Hall and Josh Dolgin coming to DJ. I want to try and catch
> everyone, though the Yiddish Institute will have to be my top priority!
>
> For more information on how to get in on the weeklong Yiddish
> Institute in Los Angeles, full of great music and some of the
> best Yiddish teachers around, please visit:
>
> www.yiddishinstitute.org
>
> Don't miss it!!!!! ;)
>
>
> Jill
> www.animatrixie.com
>
>
> ------------------------------
> From: AGREENBA (at) aol(dot)com
> Message-ID: <a9(dot)4b163ed8(dot)2ce51313 (at) aol(dot)com>
> Date: Thu, 13 Nov 2003 12:02:11 EST
> Subject: Re: Milken conference/+shers
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> MIME-Version: 1.0
> Content-Type: multipart/alternative;
> boundary="part1_a9.4b163ed8.2ce51313_boundary"
>
>
> --part1_a9.4b163ed8.2ce51313_boundary
> Content-Type: text/plain; charset="UTF-8"
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>
>
> In a message dated 11/13/03 11:07:56 AM, ari (at) ivritype(dot)com writes:
>
>
> > As Elliot has already written, that concert was a short=C2=A0
> piece by Yeh=
> udi=20
> > Weiner, preceded by a short talk, and some examples of some
> songs by his=20
> > father. It was stunning.
> >=20
>
> Although I was not at this conference I just wanted to add a
> little snippet=20
> about Yehudi (Wyner - he spells it this way, unless he changed it
> back?). Th=
> is=20
> is one helluva composer and mench. I reentered a connection with
> him after a=
> =20
> long hiatus and ended up getting to hear some amazing
> compositions that he h=
> ad=20
> recently written. He shared with me classical works that infuse
> klezmer in=20
> truly unique, haunting, brilliant ways, as well as other works
> that evoque a=
> deep=20
> feeling for the Jewish sound yet uniquely display his own solid
> classical=20
> commitment. I know that he is well received in the Boston scene
> but I'm not=20=
> so=20
> sure he is as known as he should be throughout the world.
>
> Also, your comment about Deborah mentioning how shers need to be=20
> "coordinated" struck me as a "problem" I've been trying to solve
> as I select=
> shers for=20
> dancing....the sher. I hope to straighten out some of this this
> December wit=
> h=20
> Steve W. at Kamp but, at least for now, the sher that Michael A.
> taught at=20
> KlezKanada is simple for sure, yet phrase-wise is not so easy to
> find the ri=
> ght=20
> length sher to play! Any more comments??? (I'm one who is
> terribly stuck whe=
> n=20
> dancing doesn't fit the music/music doesn't fit the dancing, i.e,
> it upsets=20=
> me,=20
> upsets my sense of, well, fun and connection to the music and the
> dance.) I=20=
> have=20
> a feeling that I need to learn many more shers (the many ways to
> dance it) i=
> n=20
> order to find the right sher to fit?? Example: The exchange of
> bows is=20
> sometimes either too quick or not finished when a section of
> music is going.=
> When=20
> doing the final swing with the first partner and then moving on
> to the other=
> s=20
> can be stretched or quickened but is this the responsibility of
> the musician=
> s=20
> to choose the phrases they'll play?! I can't imagine that the
> dancers really=
> =20
> care if the music has finished or not and is starting over. (And
> maybe this=20
> isn't at all what Ari was referring to in Deborah's statement
> about fitting=20=
> music=20
> in the sher!!!)
> Adrianne
>
> _____________________________________
> Adrianne Greenbaum
> www.klezmerflute.com & www.klezband.com
> Associate Professor of Flute, Mount Holyoke College
> Klezmer flutist: =E2=80=9CFleytMuzik=E2=80=9D and =E2=80=9CFamily
> Portrait=
> =E2=80=9D
> Classical: "Sounds of America"
> fluteworld or cdbaby
>
> --part1_a9.4b163ed8.2ce51313_boundary
> Content-Type: text/html; charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
> Content-Language: en
>
> <HTML><FONT FACE=3Darial,helvetica><FONT COLOR=3D"#000000"
> FACE=3D"Geneva" F=
> AMILY=3D"SANSSERIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"><BR>
> In a message dated 11/13/03 11:07:56 AM, ari (at) ivritype(dot)com writes:<BR>
> <BR>
> <BR>
> <BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid;
> MARGIN-LEFT: 5px;=20=
> MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT
> COLOR=3D"#0=
> 00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2"
> STYLE=3D"BACKGROUND-C=
> OLOR: #FFFFFF">As Elliot has already written, that concert was a short=C2=
> =A0 piece by Yehudi <BR>
> Weiner, preceded by a short talk, and some examples of some songs
> by his <BR=
> >
> father. It was stunning.<BR>
> </BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva"
> FAMILY=3D"SANSSE=
> RIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"><BR>
> <BR>
> Although I was not at this conference I just wanted to add a
> little snippet=20=
> about Yehudi (Wyner - he spells it this way, unless he changed it
> back?). Th=
> is is one helluva composer and mench. I reentered a connection
> with him afte=
> r a long hiatus and ended up getting to hear some amazing
> compositions that=20=
> he had recently written. He shared with me classical works that
> infuse klezm=
> er in truly unique, haunting, brilliant ways, as well as other
> works that ev=
> oque a deep feeling for the Jewish sound yet uniquely display his
> own solid=20=
> classical commitment. I know that he is well received in the
> Boston scene bu=
> t I'm not so sure he is as known as he should be throughout the world.<BR>
> <BR>
> Also, your comment about Deborah mentioning how shers need to be
> "coordinate=
> d" struck me as a "problem" I've been trying to solve as I select
> shers for=20=
> dancing....the sher. I hope to straighten out some of this this
> December wit=
> h Steve W. at Kamp but, at least for now, the sher that Michael
> A. taught at=
> KlezKanada is simple for sure, yet phrase-wise is not so easy to
> find the r=
> ight length sher to play! Any more comments??? (I'm one who is
> terribly stuc=
> k when dancing doesn't fit the music/music doesn't fit the
> dancing, i.e, it=20=
> upsets me, upsets my sense of, well, fun and connection to the
> music and the=
> dance.) I have a feeling that I need to learn many more shers
> (the many way=
> s to dance it) in order to find the right sher to fit??
> Example: The=20=
> exchange of bows is sometimes either too quick or not finished
> when a sectio=
> n of music is going. When doing the final swing with the first
> partner and t=
> hen moving on to the others can be stretched or quickened but is
> this the re=
> sponsibility of the musicians to choose the phrases they'll
> play?! I can't i=
> magine that the dancers really care if the music has finished or
> not and is=20=
> starting over. (And maybe this isn't at all what Ari was
> referring to in Deb=
> orah's statement about fitting music in the sher!!!)<BR>
> Adrianne<BR>
> <BR>
> _____________________________________<BR>
> Adrianne Greenbaum<BR>
> www.klezmerflute.com & www.klezband.com<BR>
> Associate Professor of Flute, Mount Holyoke College<BR>
> Klezmer flutist: =E2=80=9CFleytMuzik=E2=80=9D and =E2=80=9CFamily
> Portrait=
> =E2=80=9D<BR>
> Classical: "Sounds of America"<BR>
> fluteworld or cdbaby</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=
> =3D"SANSSERIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR:
> #FFFFFF"></FONT></HTML>
>
> --part1_a9.4b163ed8.2ce51313_boundary--
>
>
> ------------------------------
> Message-ID: <3FB3BDE3(dot)6D46574F (at) earthlink(dot)net>
> Date: Thu, 13 Nov 2003 12:22:43 -0500
> From: Jordan Hirsch <trombaedu (at) earthlink(dot)net>
> MIME-Version: 1.0
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: Milken conference/+shers
> Content-Type: text/plain; charset=iso-8859-1;
> x-mac-type="54455854"; x-mac-creator="4D4F5353"
> Content-Transfer-Encoding: 8bit
>
>
>
> AGREENBA (at) aol(dot)com wrote:
>
> >
> > In a message dated 11/13/03 11:07:56 AM, ari (at) ivritype(dot)com writes:
> >
> >
> >
> >> As Elliot has already written, that concert was a short¬? piece by
> >> Yehudi
> >> Weiner, preceded by a short talk, and some examples of some songs by
> >> his
> >> father. It was stunning.
> >
> Where is Yehudi Wyner located? Does he have any Brass related pieces?
>
> Jordan
>
>
> ------------------------------
> From: AGREENBA (at) aol(dot)com
> Message-ID: <35(dot)3fe8d1f8(dot)2ce51c8a (at) aol(dot)com>
> Date: Thu, 13 Nov 2003 12:42:34 EST
> Subject: Re: Milken conference/+shers
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> MIME-Version: 1.0
> Content-Type: multipart/alternative;
> boundary="part1_35.3fe8d1f8.2ce51c8a_boundary"
>
>
> --part1_35.3fe8d1f8.2ce51c8a_boundary
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
>
> In a message dated 11/13/03 12:25:12 PM, trombaedu (at) earthlink(dot)net
> writes:
>
>
> > Where is Yehudi Wyner located? Does he have any Brass related pieces?
> >
> > Jordan
> >
>
> You can find him at Brandeis U. He wrote a Horn Trio at least
> that I know of.
> Adrianne
>
>
>
> --part1_35.3fe8d1f8.2ce51c8a_boundary
> Content-Type: text/html; charset="US-ASCII"
> Content-Transfer-Encoding: quoted-printable
>
> <HTML><FONT FACE=3Darial,helvetica><FONT COLOR=3D"#000000"
> FACE=3D"Geneva" F=
> AMILY=3D"SANSSERIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"><BR>
> In a message dated 11/13/03 12:25:12 PM, trombaedu (at) earthlink(dot)net
> writes:<BR>
> <BR>
> <BR>
> <BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid;
> MARGIN-LEFT: 5px;=20=
> MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT
> COLOR=3D"#0=
> 00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2"
> STYLE=3D"BACKGROUND-C=
> OLOR: #FFFFFF">Where is Yehudi Wyner located? Does he have any
> Brass related=
> pieces?<BR>
> <BR>
> Jordan<BR>
> </BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva"
> FAMILY=3D"SANSSE=
> RIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"><BR>
> <BR>
> You can find him at Brandeis U. He wrote a Horn Trio at least
> that I know of=
> .<BR>
> Adrianne<BR>
> <BR>
> </FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=
> =3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"></FONT></HTML>
>
> --part1_35.3fe8d1f8.2ce51c8a_boundary--
>
>
> ------------------------------
> Message-Id: <200311131828(dot)hADISFq03673 (at) panix2(dot)panix(dot)com>
> Subject: Re: incredible strauss/warschauer concert; next on Dec 8
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Date: Thu, 13 Nov 2003 13:28:15 -0500 (EST)
> From: "r l reid" <ro (at) panix(dot)com>
> From: "r l reid" <ro (at) panix(dot)com>
> MIME-Version: 1.0
> Content-Type: text/plain; charset=us-ascii
> Content-Transfer-Encoding: 7bit
>
> Ari Davidow wrote:
> > As to everyone at the event who swore that they were going to
> post to the
> > list immediately .....
>
> Give me a break, khaver! I did write a pithy little piece but trechnical
> difficulties and alack of sleep and need to practice got in the way.
>
> Aside from the wonderous playing, the inter-tune commentaries were a
> whole other level. Not just clever coments to tahe audience while
> tuning, they were scholarly,personal, historical, and emotional.
>
> "Before I speak, I have a few things to say..."
>
> A powerful combination of presentations and of personalities. It
> was like a master class without the pressure.
>
> ro
>
> --
> r l reid ro (at) rreid(dot)net
>
>
>
> ------------------------------
> Message-ID: <023b01c3aa15$07199ca0$28104081 (at) brandeis(dot)edu>
> From: "Judith Pinnolis" <pinnolis (at) brandeis(dot)edu>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: Milken conference/+shers
> Date: Thu, 13 Nov 2003 13:36:18 -0500
> MIME-Version: 1.0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: 8bit
>
> Yehudi Wyner works here at Brandeis and we are so fortunate! His new piece
> presented at Milken was just incredible. I've heard several of
> his pieces at
> concerts here in Boston, and he is someone whose music should be widely
> considered. He is very well respected and beloved in this community.
>
> Judy
>
> ----- Original Message -----
> From: "Jordan Hirsch" <trombaedu (at) earthlink(dot)net>
> To: "World music from a Jewish slant" <jewish-music (at) shamash(dot)org>
> Sent: Thursday, November 13, 2003 12:22 PM
> Subject: Re: Milken conference/+shers
>
>
> >
> >
> > AGREENBA (at) aol(dot)com wrote:
> >
> > >
> > > In a message dated 11/13/03 11:07:56 AM, ari (at) ivritype(dot)com writes:
> > >
> > >
> > >
> > >> As Elliot has already written, that concert was a short¬? piece by
> > >> Yehudi
> > >> Weiner, preceded by a short talk, and some examples of some songs by
> > >> his
> > >> father. It was stunning.
> > >
> > Where is Yehudi Wyner located? Does he have any Brass related pieces?
> >
> > Jordan
> >
> >
> >
>
>
> ------------------------------
> Message-Id: <6(dot)0(dot)0(dot)22(dot)0(dot)20031113135106(dot)029327c0 (at)
> mail92(dot)pair(dot)com>
> Date: Thu, 13 Nov 2003 13:52:27 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Ari Davidow <ari (at) ivritype(dot)com>
> Subject: Re: Milken conference/+shers
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> At 12:02 PM 11/13/2003, you wrote:
>
> >In a message dated 11/13/03 11:07:56 AM, ari (at) ivritype(dot)com writes:
> >
> >
> >> by Yehudi Weiner, preceded by a short talk, and some examples of some
> >> songs by his
> >>father. It was stunning.
> >
> >
> >Although I was not at this conference I just wanted to add a little
> >snippet about Yehudi (Wyner - he spells it this way, unless he
> changed it
> >back?).
>
>
> Oops. Appreciate the correction.
>
> ari
>
>
> Ari Davidow
> ari (at) ivritype(dot)com
> list owner, jewish-music (at) shamash(dot)org
> the klezmer shack: http://www.klezmershack.com/
>
>
> ------------------------------
> From: Klezcorner (at) aol(dot)com
> Message-ID: <1c4(dot)11a0a174(dot)2ce53c6c (at) aol(dot)com>
> Date: Thu, 13 Nov 2003 14:58:36 EST
> Subject: Re: Songs from the Attic
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> MIME-Version: 1.0
> Content-Type: text/plain; charset="US-ASCII"
> Content-Transfer-Encoding: 7bit
>
>
> In a message dated 11/13/3 8:13:58 AM, SamWeiss (at) bellatlantic(dot)net
> writes:
>
> << I wonder if these are a repackaging of the 10-volume
> collection "Yiddishe
> Momme" from Russia peddled on this list about a year and a half ago.
> >>
>
> No, these are totally different...we just put them up on our site
> yesterday,
> so you can now see the song and artist selections on our site on
> the "What's
> New At Hatikvah Music" page at:
> http://WWW.HATIKVAHMUSIC.COM/whatsnew1.html
>
> There is a also a new CD, Eshet Chayil: Women Singing Yiddish - Vol 3
> artists (Sophie Tucker, Feder Sisters, Miriam Kressin, Molly
> Picon, Shifra Lerrer,
> etc.) (CD)
> this Cd features ONLY women singers in Yiddish and is the only CD
> available
> featuring The Feder Sisters.
>
> Hatikvah Music
> 323) 655-7083
>
>
> ------------------------------
> Message-ID: <000b01c3aa3f$38ae1460$6501a8c0 (at) attbi(dot)com>
> From: "Steve Weintraub" <dancinsteve (at) comcast(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: +shers
> Date: Thu, 13 Nov 2003 18:38:19 -0500
> MIME-Version: 1.0
> Content-Type: multipart/alternative;
> boundary="----=_NextPart_000_0008_01C3AA15.4F6BB600"
>
> This is a multi-part message in MIME format.
>
> ------=_NextPart_000_0008_01C3AA15.4F6BB600
> Content-Type: text/plain;
> charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
>
> Adrienne et al:
>
> Deb Strauss and I this past summer collected a version of the sher that =
> was done by staff in the 40's at what is now KinderRing/Circle Lodge. =
> According to our source, this version most certainly coordinated with =
> the music- she said the same tune (one of the Kalmen shers) came back =
> everytime they circled at the beginning of each time through the dance. =
> Also, after all the figures had been completed, the drummer cued the =
> group to beging "threading the needle" with 4 drum beats, and another 4 =
> beats was the cue to unwind.
> According to her, no one taught this sher, it was simply done every =
> night after work and one learned by watching and participating. The =
> ubiquitous Shalom Secunda was in the band, as well as other 2nd Avenue =
> musicians.
> >From what I gather, they played the same tune over and over (probably =
> not accetptable anymore)
>
> This confirms something that I've suspected- different sher versions =
> were probably married to a specific tune or set of tunes, from which =
> they in time became disconncted. Most set dances (dances with partners =
> performing a sequence of figures) are allied with a specific tune, since =
> the time of Playford in the Elizebethan era at least. The Patch tanz =
> tune clearly had a dance to go with it, the Israelis had to reinvent one =
> to a truncated version of the tune. Korobushka is always done to the =
> Korobushka tune. Many contemporary musicians have learned the sher from =
> books, independant of any version of the dance, or learned from sher =
> suites like the Abe Schwartz versions, which must be considered concert =
> shers- none of the recordings are identical in phrasing. Only not- set =
> dances (lines, circles, solo) tend to operate independantly of the tune, =
> the variation of the tune gives the repetativeness of the dance some =
> variety.
>
> So- what are we to do? I'm going to teach the "Workman's Circle" sher =
> at Klezkamp, and insist that the musicians follow the dance. (Its not =
> very hard to figure out- 6 x 16 bars). For any other version, I think =
> its important for the teacher to work with the musicians on tunes that =
> will fit that version.
>
> Steve W.
> ----- Original Message -----=20
> From: AGREENBA (at) aol(dot)com=20
> To: World music from a Jewish slant=20
> Sent: Thursday, November 13, 2003 12:02 PM
> Subject: Re: Milken conference/+shers
>
>
>
> In a message dated 11/13/03 11:07:56 AM, ari (at) ivritype(dot)com writes:
>
>
>
> As Elliot has already written, that concert was a short piece by =
> Yehudi=20
> Weiner, preceded by a short talk, and some examples of some songs by =
> his=20
> father. It was stunning.
>
>
>
> Although I was not at this conference I just wanted to add a little =
> snippet about Yehudi (Wyner - he spells it this way, unless he changed =
> it back?). This is one helluva composer and mench. I reentered a =
> connection with him after a long hiatus and ended up getting to hear =
> some amazing compositions that he had recently written. He shared with =
> me classical works that infuse klezmer in truly unique, haunting, =
> brilliant ways, as well as other works that evoque a deep feeling for =
> the Jewish sound yet uniquely display his own solid classical =
> commitment. I know that he is well received in the Boston scene but I'm =
> not so sure he is as known as he should be throughout the world.
>
> Also, your comment about Deborah mentioning how shers need to be =
> "coordinated" struck me as a "problem" I've been trying to solve as I =
> select shers for dancing....the sher. I hope to straighten out some of =
> this this December with Steve W. at Kamp but, at least for now, the sher =
> that Michael A. taught at KlezKanada is simple for sure, yet phrase-wise =
> is not so easy to find the right length sher to play! Any more =
> comments??? (I'm one who is terribly stuck when dancing doesn't fit the =
> music/music doesn't fit the dancing, i.e, it upsets me, upsets my sense =
> of, well, fun and connection to the music and the dance.) I have a =
> feeling that I need to learn many more shers (the many ways to dance it) =
> in order to find the right sher to fit?? Example: The exchange of bows =
> is sometimes either too quick or not finished when a section of music is =
> going. When doing the final swing with the first partner and then moving =
> on to the others can be stretched or quickened but is this the =
> responsibility of the musicians to choose the phrases they'll play?! I =
> can't imagine that the dancers really care if the music has finished or =
> not and is starting over. (And maybe this isn't at all what Ari was =
> referring to in Deborah's statement about fitting music in the sher!!!)
> Adrianne
>
> _____________________________________
> Adrianne Greenbaum
> www.klezmerflute.com & www.klezband.com
> Associate Professor of Flute, Mount Holyoke College
> Klezmer flutist: =E2=80=9CFleytMuzik=E2=80=9D and =E2=80=9CFamily =
> Portrait=E2=80=9D
> Classical: "Sounds of America"
> fluteworld or cdbaby
> ------=_NextPart_000_0008_01C3AA15.4F6BB600
> Content-Type: text/html;
> charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
>
> =EF=BB=BF<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
> <HTML><HEAD>
> <META http-equiv=3DContent-Type content=3D"text/html; charset=3Dutf-8">
> <META content=3D"MSHTML 6.00.2800.1226" name=3DGENERATOR>
> <STYLE></STYLE>
> </HEAD>
> <BODY bgColor=3D#ffffff>
> <DIV><FONT face=3DGaramond>Adrienne et al:</FONT></DIV>
> <DIV><FONT face=3DGaramond></FONT> </DIV>
> <DIV><FONT face=3DGaramond>Deb Strauss and I this past summer collected =
> a version=20
> of the sher that was done by staff in the 40's at what is now =
> KinderRing/Circle=20
> Lodge. According to our source, this version most certainly =
> coordinated=20
> with the music- she said the same tune (one of the Kalmen shers) came =
> back=20
> everytime they circled at the beginning of each time through the =
> dance. =20
> Also, after all the figures had been completed, the drummer cued the =
> group to=20
> beging "threading the needle" with 4 drum beats, and another 4 beats was =
> the cue=20
> to unwind.</FONT></DIV>
> <DIV><FONT face=3DGaramond>According to her, no one taught this sher, it =
> was=20
> simply done every night after work and one learned by watching and=20
> participating. The ubiquitous Shalom Secunda was in the band, as =
> well as=20
> other 2nd Avenue musicians.</FONT></DIV>
> <DIV><FONT face=3DGaramond>From what I gather, they played the same tune =
> over and=20
> over (probably not accetptable anymore)</FONT></DIV>
> <DIV><FONT face=3DGaramond></FONT> </DIV>
> <DIV><FONT face=3DGaramond>This confirms something that I've suspected- =
> different=20
> sher versions were probably married to a specific tune or set of=20
> tunes, from which they in time became disconncted. Most set =
> dances=20
> (dances with partners performing a sequence of figures) are allied with =
> a=20
> specific tune, since the time of Playford in the Elizebethan era at =
> least. =20
> The Patch tanz tune clearly had a dance to go with it, the Israelis had =
> to=20
> reinvent one to a truncated version of the tune. Korobushka is always =
> done to=20
> the Korobushka tune. Many contemporary musicians have learned the sher =
> from=20
> books, independant of any version of the dance, or learned from sher =
> suites like=20
> the Abe Schwartz versions, which must be considered concert shers- none =
> of the=20
> recordings are identical in phrasing. Only not- set dances (lines, =
>
> circles, solo) tend to operate independantly of the tune, the variation =
> of the=20
> tune gives the repetativeness of the dance some variety.</FONT></DIV>
> <DIV><FONT face=3DGaramond></FONT> </DIV>
> <DIV><FONT face=3DGaramond>So- what are we to do? I'm going to =
> teach the=20
> "Workman's Circle" sher at Klezkamp, and insist that the musicians =
> follow the=20
> dance. (Its not very hard to figure out- 6 x 16 bars). For any =
> other=20
> version, I think its important for the teacher to work with the =
> musicians on=20
> tunes that will fit that version.</FONT></DIV>
> <DIV><FONT face=3DGaramond></FONT> </DIV>
> <DIV><FONT face=3DGaramond>Steve W.</FONT></DIV>
> <BLOCKQUOTE=20
> style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
> BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
> <DIV style=3D"FONT: 10pt arial">----- Original Message ----- </DIV>
> <DIV=20
> style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
> black"><B>From:</B>=20
> <A title=3DAGREENBA (at) aol(dot)com =
> href=3D"mailto:AGREENBA (at) aol(dot)com">AGREENBA (at) aol(dot)com</A>=20
> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>To:</B> <A =
> title=3Djewish-music (at) shamash(dot)org=20
> href=3D"mailto:jewish-music (at) shamash(dot)org">World music from a Jewish
> =
> slant</A>=20
> </DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Thursday, November 13, =
> 2003 12:02=20
> PM</DIV>
> <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Milken=20
> conference/+shers</DIV>
> <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT=20
> style=3D"BACKGROUND-COLOR: #ffffff" face=3DGeneva color=3D#000000 =
> size=3D2=20
> FAMILY=3D"SANSSERIF"><BR>In a message dated 11/13/03 11:07:56 AM, <A=20
> href=3D"mailto:ari (at) ivritype(dot)com">ari (at) ivritype(dot)com</A> =
> writes:<BR><BR><BR>
> <BLOCKQUOTE=20
> style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
> solid; MARGIN-RIGHT: 0px"=20
> cite=3D"" TYPE=3D"CITE"></FONT><FONT style=3D"BACKGROUND-COLOR: =
> #ffffff"=20
> face=3DGeneva color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF">As =
> Elliot has already=20
> written, that concert was a short piece by Yehudi <BR>Weiner, =
> preceded=20
> by a short talk, and some examples of some songs by his <BR>father. =
> It was=20
> stunning.<BR></BLOCKQUOTE></FONT><FONT style=3D"BACKGROUND-COLOR: =
> #ffffff"=20
> face=3DGeneva color=3D#000000 size=3D2 =
> FAMILY=3D"SANSSERIF"><BR><BR>Although I was not=20
> at this conference I just wanted to add a little snippet about Yehudi =
> (Wyner -=20
> he spells it this way, unless he changed it back?). This is one =
> helluva=20
> composer and mench. I reentered a connection with him after a long =
> hiatus and=20
> ended up getting to hear some amazing compositions that he had =
> recently=20
> written. He shared with me classical works that infuse klezmer in =
> truly=20
> unique, haunting, brilliant ways, as well as other works that evoque a =
> deep=20
> feeling for the Jewish sound yet uniquely display his own solid =
> classical=20
> commitment. I know that he is well received in the Boston scene but =
> I'm not so=20
> sure he is as known as he should be throughout the world.<BR><BR>Also, =
> your=20
> comment about Deborah mentioning how shers need to be "coordinated" =
> struck me=20
> as a "problem" I've been trying to solve as I select shers for =
> dancing....the=20
> sher. I hope to straighten out some of this this December with Steve =
> W. at=20
> Kamp but, at least for now, the sher that Michael A. taught at =
> KlezKanada is=20
> simple for sure, yet phrase-wise is not so easy to find the right =
> length sher=20
> to play! Any more comments??? (I'm one who is terribly stuck when =
> dancing=20
> doesn't fit the music/music doesn't fit the dancing, i.e, it upsets =
> me, upsets=20
> my sense of, well, fun and connection to the music and the dance.) I =
> have a=20
> feeling that I need to learn many more shers (the many ways to dance =
> it) in=20
> order to find the right sher to fit?? Example: The exchange of =
> bows is=20
> sometimes either too quick or not finished when a section of music is =
> going.=20
> When doing the final swing with the first partner and then moving on =
> to the=20
> others can be stretched or quickened but is this the responsibility of =
> the=20
> musicians to choose the phrases they'll play?! I can't imagine that =
> the=20
> dancers really care if the music has finished or not and is starting =
> over.=20
> (And maybe this isn't at all what Ari was referring to in Deborah's =
> statement=20
> about fitting music in the=20
> =
> sher!!!)<BR>Adrianne<BR><BR>_____________________________________<BR>Adri=
> anne=20
> Greenbaum<BR>www.klezmerflute.com & www.klezband.com<BR>Associate=20
> Professor of Flute, Mount Holyoke College<BR>Klezmer flutist: =
> =E2=80=9CFleytMuzik=E2=80=9D and=20
> =E2=80=9CFamily Portrait=E2=80=9D<BR>Classical: "Sounds of =
> America"<BR>fluteworld or=20
> cdbaby</FONT><FONT style=3D"BACKGROUND-COLOR: #ffffff" face=3DGeneva =
> color=3D#000000=20
> size=3D2 FAMILY=3D"SANSSERIF"></FONT> =
> </FONT></BLOCKQUOTE></BODY></HTML>
>
> ------=_NextPart_000_0008_01C3AA15.4F6BB600--
>
>
> ------------------------------
> Message-Id: <5(dot)1(dot)1(dot)6(dot)0(dot)20031113191321(dot)00ad0a80 (at)
> saluki-mail(dot)siu(dot)edu>
> Date: Thu, 13 Nov 2003 19:14:57 -0600
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: cyril robinson <lunar (at) siu(dot)edu>
> Subject: Fwd: A Yiddish Lesson
> Mime-Version: 1.0
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>
> Listers-- not entirely relevant to music but even musicians have names.
> Cyril Robinson
> >X-Sender: ugent (at) saluki-mail(dot)siu(dot)edu
> >X-Mailer: QUALCOMM Windows Eudora Version 5.1.1
> >Date: Thu, 13 Nov 2003 16:58:15 -0600
> >To: Cyril Robinson <lunar (at) siu(dot)edu>
> >From: Don Ugent <ugent (at) siu(dot)edu>
> >Subject: A Yiddish Lesson
> >
> >
> >Subject: For all those Jews wondering where their last names
> come from and a
> >bissel yiddish too
> >
> >IF THE NAME IS JEWISH ... . . .
> >DON'T MISS THE POEM AT THE END . . .
> >"YIDDISH~~~THE SECRET CODE"
> >How Jews got their Names....
> >Other than aristocrats and wealthy people Jews did not get surnames in
> >Eastern Europe until the Napoleon years of the early 19th
> century. Most of
> >the Jews from countries captured by Napoleon, Russia, Poland, and Germany
> >were ordered to get surnames for tax purposes.
> >
> >After Napoleon's defeat, many Jews dropped these names and
> returned to "son
> >of" names such as: MENDELSOHN, JACOBSON, LEVINSON, etc.
> >
> >During the so called Emancipation, Jews were once more ordered to take
> >surnames. In Austria The Emperor Joseph made Jews take last names in the
> >late 1700s, Poland in 1821 and Russia in 1844. It's probable that some of
> >our families have had last names for 175 years or less.
> >
> >In France and the Anglo Saxon countries surnames went back to the 16th
> >century. Also Sephardic Jews had surnames stretching back centuries.
> >Spain prior to Ferdinand and Isabella was a golden spot for
> Jews. They were
> >expelled by Isabella in the same year that Columbus left for America.
> >
> >The earliest American Jews were Sephardic.
> >
> >In general there were Five types of names
> >(people had to pay for their choice of names; the poor had
> assigned names):
> >
> >1-- Names that were descriptive of the head of household:
> >Examples:
> >HOCH (tall) ,
> >KLEIN (small),
> >COHEN (rabbi ),
> >BURGER (village dweller),
> >SHEIN (good looking),
> >LEVI (temple singer),
> >GROSS (large),
> >SCHWARTZ (dark or black),
> >WEISS (white),
> >KURTZ (short)
> >
> >2 -- Names describing occupations:
> >Examples:
> >HOLTZ (wood)
> >HOLTZKOCKER (wood chopper),
> >GELTSCHMIDT (goldsmith),
> >SCHNEIDER (tailor),
> >KREIGSMAN (warrior),
> >MALAMED (teacher)
> >EISEN (iron),
> >FISCHER (fish)
> >
> >3-- Names from city of residence:
> >Examples:
> >BERLIN,
> >FRANKFURTER,
> >DANZIGER,
> >OPPENHEIMER,
> >DEUTSCH (German)
> >POLLACK (Polish),
> >BRESLAU,
> >MANNHEIM,
> >CRACOW,
> >WARSHAW
> >
> >4 -- Bought names:Examples:
> >GLUCK (luck),
> >ROSEN (roses),
> >ROSENBLATT (rose paper or leaf),
> >ROSENBERG (rose mountain),
> >ROTHMAN (red man),
> >DIAMOND,
> >KOENIG (king),
> >KOENIGSBERG (king's mountain),
> >SPIELMAN (spiel is to play),
> >LIEBER (lover),
> >BERG (mountain),
> >WASSERMAN (water dweller),
> >KERSHENBLATT (church paper),
> >STEIN (glass).
> >
> >5-- Assigned names (usually undesirable):
> >Examples:
> >PLOTZ (to die),
> >KLUTZ (clumsy),
> >BILLIG (cheap)
> >DREK (shit)
> >
> >Original Birth Names of Jewish Performers:
> >Woody Allen --- Alan Stewart Koenigsberg
> >June Allyson --- Ella Geisman
> >Lauren Bacall --- Betty Joan Perske
> >Jack Benny --- Benjamin Kubelsky
> >Irving Berlin --- Israel Baline
> >Milton Berle --- Milton Berlinger
> >Joey Bishop ---Joseph Gottlieb
> >Karen Black --- Karen Blanche Ziegler
> >Victor Borge --- Borge Rosenbaum
> >Fanny Brice --- Fanny Borach
> >Mel Brooks --- Melvin Kaminsky
> >George Burns --- Nathan Birnbaum
> >Eddie Cantor --- Edward Israel Iskowitz
> >Jeff Chandler --- Ira Grossel
> >Lee J. Cobb --- Amos Jacob
> >Tony Curtis --- Bernard Schwartz
> >Rodney Dangerfield --- Jacob Cohen
> >Kirk Douglas --- Issue Danielovich Demsky
> >Melvyn Douglas --- Melvyn Hesselberg
> >Bob Dylan --- Bobby Zimmerman
> >Paulette Goddard --- Marion Levy
> >Lee Grant --- Lyova Geisman
> >Elliot Gould --- Elliot Goldstein
> >Judy Holliday --- Judith Tuvim
> >Al Jolson --- Asa Yoelson
> >Danny Kaye --- David Daniel Kaminsky
> >Michael Landon --- Michael Orowitz
> >Steve Lawrence --- Sidney Leibowitz
> >Jerry Lewis --- Joseph Levitch
> >Peter Lorre --- Lazlo Lowenstein
> >Elaine May --- Elaine Berlin
> >Yves Montand --- Ivo Levy
> >Mike Nichols --- Michael Peschkowsky
> >Joan Rivers --- Joan Molinsky
> >Edward G. Robinson -- Emanuel Goldenberg
> >Jane Seymour --- Joyce Penelope Frankenburg
> >Simone Signoret --- Simone-Henriette Kaminker
> >Beverly Sills --- Belle Silverman
> >Sophie Tucker --- Sophia Kalish
> >Gene Wilder --- Gerald Silberman
> >YIDDISH ~~~THE SECRET
> >CODE
> >
> >
> >
> >Yiddish was the secret code, therefore I don't farshtaist,
> >A bisseleh maybe here and there, the rest has gone to waste.
> >Sadly when I hear it now, I only get the gist,
> >My Bubbeh spoke it beautifully; but me, I am tsemisht.
> >
> >So och un vai as I should say, or even oy vai iz mir,
> >Though my pisk is lacking Yiddish, it's familiar to my ear.
> >And I'm no Chaim Yonkel , in fact I was shtick naches,
> >But, when it comes to Yiddish though, I'm talking out my tuchas.
> >
> >Es iz a shandeh far di kinder that I don't know it better
> >(Though it's really nishtkefelecht when one needs to write a letter)
> >But, when it comes to characters, there's really no contention,
> >No other linguist can compete with honorable mentshen:
> >
> >They have nebbishes and nebechels and others without mazel,
> >Then, too, schmendriks and schlemiels, and let's not forget schlemazel.
> >These words are so precise and descriptive to the listener,
> >So much better than "a pill " is to call someone 'farbissener'.
> >
> >Or - that a brazen woman would be better called chaleria,
> >And you'll agree farklempt says more than does hysteria.
> >I'm not haken dir a tsheinik and I hope I'm not a kvetch,
> >But isn't mieskeit kinder, than to call someone a wretch?
> >
> >Mitten derinnen, I hear Bubbeh say, "It's nechtiker tog, don't fear,
> >To me you're still a maven, zol zein shah, don't fill my ear.
> >A leben ahf dein keppele, I don't mean to interrupt,
> >But you are speaking narishkeit.....And A gezunt auf dein kup!"
> >~~~~~~~~~~~~~~~~~~~~~~
> >GLOSSARY
> >Farshtaist = (Do You?) Understand
> >Bisseleh = A little
> >Tsemisht = Confused or mixed up
> >Och un vai = Alas and alack
> >Oi vai iz mir = Woe is me
> >Pisk = mouth
> >Naches = Joy, Gratification
> >Shandeh far di kinder = A pity/shame for the children
> >Nishtkefelecht = Not so terrible
> >Nebbishes = A nobody or simpleton
> >Nebechels = A pititful person or playing the role of being one
> >Schlemiel = Clumsy bungler, an inept person, butter-fingered;
> dopey person
> >Schmendrik = Nincompoop; an inept or indifferent person; same as chlemiel
> >Schlemazel = Luckless person. Unlucky person; one with perpetual bad luck
> >(it is said that the shlemiel spills the soup on the Shlimazel!)
> >Farbissener = Embittered; bitter person
> >Chaleria = Evil woman. Probably derived from cholera.
> >Farklempt = Too emotional to talk. Ready to cry.
> >Haken dir a tsheinik = Don't get on your nerves
> >(Lit., Don't bang your teapot!)
> >Kvetch = Whine, complain; whiner, a complainer
> >Mieskeit = Ugly
> >Mitten derinnen = All of a sudden, suddenly
> >Nechtiker tog! = He's (it's) gone! Forget it! Nonsense!
> >(Lit., a night's day)
> >Zol zein shah! = Be quiet. Shut up!!
> >Leben ahf dein keppele = Words of praise like; Well said! Well done!
> >(Lit., A long life upon your head.)
> >Narishkeit = Nonsense
> >
> >
> >
> >The Good Jewish Boychic From Brooklyn
> >YYYYYYYYYYYYYYYYYYYY
> >
> >
> >
> >
> >
> >---
> >Incoming mail is certified Virus Free.
> >Checked by AVG anti-virus system (http://www.grisoft.com).
> >Version: 6.0.538 / Virus Database: 333 - Release Date: 11/10/2003
>
> Cyril D. Robinson
> 520 N. Michaels St.
> Carbondale, IL 62901
> Tel: 618-549-0028
> FAX: 618-453-6733
> Archivist: Jewish Music Archives
> Radio host: Cyril's Cabaret WDBX 9l.l FM
> http://www.chipublib.org/008subject/001artmusic/jewish/jewishmain.html
>
>
>
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>
>
> ---
> Outgoing mail is certified Virus Free.
> Checked by AVG anti-virus system (http://www.grisoft.com).
> Version: 6.0.538 / Virus Database: 333 - Release Date: 11/10/2003
>
> --=======4F6B66B1=======--
>
>
> ------------------------------
> Message-Id: <6(dot)0(dot)0(dot)22(dot)0(dot)20031113202916(dot)029233e0 (at)
> mail92(dot)pair(dot)com>
> Date: Thu, 13 Nov 2003 20:39:11 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Ari Davidow <ari (at) ivritype(dot)com>
> Subject: Re: +shers
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
>
> >So- what are we to do? I'm going to teach the "Workman's
> Circle" sher at
> >Klezkamp, and insist that the musicians follow the dance. (Its not very
> >hard to figure out- 6 x 16 bars). For any other version, I think its
> >important for the teacher to work with the musicians on tunes that will
> >fit that version.
>
>
>
> Steve,
>
> I hope it's obvious that musicians do need to follow the dance
> (or perhaps
> not - else how did it become an issue!). This is partly what Deborah was
> talking about on Monday night. But I think you are wrong about repeating
> the same tune over and over. Zev Feldman was pretty clear that variations
> were common, and that there were several examples of this - the one Zev,
> Jeff, and Deborah played was a particularly rich set from Philly. From my
> notes (attempts to transcribe as people talked):
>
> "These are the Morris Fried shers. He was a klezmer in
> Philadelphia. Shers
> were meant to be medlies of short tunes. This is the best. This is a
> klezmer classic. This is peculiar because from Byelorussia, not from the
> south whence comes most klezmer music."
>
> Then, just before they began to play, as Zev waves his hand, as though at
> the head of a line dance, I got this jist from Deborah (and is what I was
> trying to remember, earlier, when I posted about the event to the
> list this
> afternoon):
>
> "I have to say a couple of things. For one thing, we got our beat by
> watching Zev moved his hand in dance rhythm. This was a revelation to me
> because we so often play them too fast. Zev reminds us to play this to
> dance. And the second thing, which is related, is that we used to
> just play
> each section, then go on to the next. And as we rehearsed we have learned
> that these don't just go from one to the other - they must fit to
> the beat,
> and where the dance is."
>
> So, yes on fitting the dance, but yes, also, on having many variations --
> which makes sense. Rhythms should stay the same for as long as the dance
> goes on, but it is the variations that make it fun for the musicians (and
> the dancers, I think, but I am a much better listener than
> dancer). And, of
> course, by sliding into a new rhythm the band moves the participants from
> one dance to the next.
>
> ari
>
>
> Ari Davidow
> ari (at) ivritype(dot)com
> list owner, jewish-music (at) shamash(dot)org
> the klezmer shack: http://www.klezmershack.com/
>
>
> ------------------------------
> From: AGREENBA (at) aol(dot)com
> Message-ID: <1f0(dot)1348b238(dot)2ce593f3 (at) aol(dot)com>
> Date: Thu, 13 Nov 2003 21:12:03 EST
> Subject: Re: +shers
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> MIME-Version: 1.0
> Content-Type: multipart/alternative;
> boundary="part1_1f0.1348b238.2ce593f3_boundary"
>
>
> --part1_1f0.1348b238.2ce593f3_boundary
> Content-Type: text/plain; charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
> Content-Language: en
>
>
> In a message dated 11/13/03 8:40:32 PM, ari (at) ivritype(dot)com writes:
>
>
> >=20
> > So, yes on fitting the dance, but yes, also, on having many
> variations --=20
> > which makes sense. Rhythms should stay the same for as long as
> the dance=20
> > goes on, but it is the variations that make it fun for the
> musicians (and=20
> > the dancers, I think, but I am a much better listener than
> dancer). And, o=
> f=20
> > course, by sliding into a new rhythm the band moves the
> participants from=20
> > one dance to the next.
> >=20
> > ari
> >=20
>
> I think we all need to clarify what "variation" means in this
> discussion and=
> =20
> of course rhythms, tempi, feeling remains the same whether
> staying with the=20
> same piece or moving to other shers or medleys. But about
> variations, varian=
> ts=20
> of a tune can still sound like the same tune, even with the best
> of figurati=
> ve=20
> ornamentations that many of us do to extend a piece for our own
> pleasure as=20
> well as for dancing/listening. If it's the Philly sher that is
> being talked=20
> about here, the one that most of us at least call the
> Philadelphia Sher - on=
> e with=20
> MANY phrases to it and doesn't return to any one specific phrase
> for a da=20
> capo in the dance - then it's certainly true that there are
> plenty of phrase=
> s to=20
> last a very long time, for a fairly long dance set. =20
>
> I am one who whole-heartedly agrees with Zev on playing most shers in a=20
> moderate tempo as the spring in the step is so much more
> satisfying. Tis w=
> hy we=20
> should all be dancers as well as players as you can't really feel
> the music=20=
> and=20
> the steps without doing the dances. (I do note, for my own interest in=20
> performing concert sets, that a few of the shers that were played
> or sung fo=
> r=20
> Beregovski and his team were marked at a clip of 144. Even
> setting aside pos=
> sible=20
> recording variation of pitch and tempo, this is a faster clip
> than the smoot=
> her=20
> moderate mood of the sher tempo that is most common to our ears and=20
> experience.)=20
>
> But all of this said still makes me puzzled as to whether there
> were bands=20
> that played certain shers for certain areas and that this
> structure was adhe=
> red=20
> to, hence the phrases were balanced to the dance. I will say
> that, because I=
> =20
> can't "tolerate" a dance that isn't going by phrase with the
> music and visa=20
> versa I will only choose a sher that fits the one form of the
> sher that I kn=
> ow.=20
> I'll also admit that I cheated a bit when it was time for, say,
> the first wo=
> man=20
> of partner one to finally move from one couple to the other, the
> final go=20
> around. If the music had only 32 beats and the bowing used a
> little more tha=
> n it=20
> was supposed to than we didn't "spin" around but rather shook the
> hand and=20
> passed along to the next person, i.e. no real dancing with that
> person. (I s=
> hould=20
> be worried that I'm passing along a somewhat new way of dancing
> the sher but=
> =20
> i don't get around THAT much....)=20
> I'm sure there will be lots of discussion now and at Kamp.
> (Was the threading of the needle at the end to make up for some
> extra music=20
> time??? I hadn't seen this before.)
> Adrianne
>
> ______________________________________
> Adrianne Greenbaum
> www.klezmerflute.com & www.klezband.com
> Associate Professor of Flute, Mount Holyoke College
> Klezmer flutist: =E2=80=9CFleytMuzik=E2=80=9D and =E2=80=9CFamily
> Portrait=
> =E2=80=9D
> Classical: "Sounds of America"
> fluteworld or cdbaby
>
> --part1_1f0.1348b238.2ce593f3_boundary
> Content-Type: text/html; charset="UTF-8"
> Content-Transfer-Encoding: quoted-printable
> Content-Language: en
>
> <HTML><FONT FACE=3Darial,helvetica><FONT COLOR=3D"#000000"
> FACE=3D"Geneva" F=
> AMILY=3D"SANSSERIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"><BR>
> In a message dated 11/13/03 8:40:32 PM, ari (at) ivritype(dot)com writes:<BR>
> <BR>
> <BR>
> <BLOCKQUOTE CITE STYLE=3D"BORDER-LEFT: #0000ff 2px solid;
> MARGIN-LEFT: 5px;=20=
> MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE=3D"CITE"></FONT><FONT
> COLOR=3D"#0=
> 00000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2"
> STYLE=3D"BACKGROUND-C=
> OLOR: #FFFFFF"><BR>
> So, yes on fitting the dance, but yes, also, on having many
> variations -- <B=
> R>
> which makes sense. Rhythms should stay the same for as long as
> the dance <BR=
> >
> goes on, but it is the variations that make it fun for the
> musicians (and <B=
> R>
> the dancers, I think, but I am a much better listener than
> dancer). And, of=20=
> <BR>
> course, by sliding into a new rhythm the band moves the
> participants from <B=
> R>
> one dance to the next.<BR>
> <BR>
> ari<BR>
> </BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva"
> FAMILY=3D"SANSSE=
> RIF" SIZE=3D"2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"><BR>
> <BR>
> I think we all need to clarify what "variation" means in this
> discussion and=
> of course rhythms, tempi, feeling remains the same whether
> staying with the=
> same piece or moving to other shers or medleys. But about
> variations, varia=
> nts of a tune can still sound like the same tune, even with the
> best of figu=
> rative ornamentations that many of us do to extend a piece for
> our own pleas=
> ure as well as for dancing/listening. If it's the Philly sher
> that is being=20=
> talked about here, the one that most of us at least call the
> Philadelphia Sh=
> er - one with MANY phrases to it and doesn't return to any one
> specific phra=
> se for a da capo in the dance - then it's certainly true that
> there are plen=
> ty of phrases to last a very long time, for a fairly long dance
> set. =20=
> <BR>
> <BR>
> I am one who whole-heartedly agrees with Zev on playing most
> shers in a mode=
> rate tempo as the spring in the step is so much more
> satisfying. Tis=20=
> why we should all be dancers as well as players as you can't
> really feel the=
> music and the steps without doing the dances. (I do note, for my
> own intere=
> st in performing concert sets, that a few of the shers that were
> played or s=
> ung for Beregovski and his team were marked at a clip of 144.
> Even setting a=
> side possible recording variation of pitch and tempo, this is a
> faster clip=20=
> than the smoother moderate mood of the sher tempo that is most
> common to our=
> ears and experience.) <BR>
> <BR>
> But all of this said still makes me puzzled as to whether there
> were bands t=
> hat played certain shers for certain areas and that this
> structure was adher=
> ed to, hence the phrases were balanced to the dance. I will say
> that, becaus=
> e I can't "tolerate" a dance that isn't going by phrase with the
> music and v=
> isa versa I will only choose a sher that fits the one form of the
> sher that=20=
> I know. I'll also admit that I cheated a bit when it was time
> for, say, the=20=
> first woman of partner one to finally move from one couple to the
> other, the=
> final go around. If the music had only 32 beats and the bowing
> used a littl=
> e more than it was supposed to than we didn't "spin" around but
> rather shook=
> the hand and passed along to the next person, i.e. no real
> dancing with tha=
> t person. (I should be worried that I'm passing along a somewhat
> new way of=20=
> dancing the sher but i don't get around THAT much....) <BR>
> I'm sure there will be lots of discussion now and at Kamp.<BR>
> (Was the threading of the needle at the end to make up for some
> extra music=20=
> time??? I hadn't seen this before.)<BR>
> Adrianne<BR>
> <BR>
> ______________________________________<BR>
> Adrianne Greenbaum<BR>
> www.klezmerflute.com & www.klezband.com<BR>
> Associate Professor of Flute, Mount Holyoke College<BR>
> Klezmer flutist: =E2=80=9CFleytMuzik=E2=80=9D and =E2=80=9CFamily
> Portrait=
> =E2=80=9D<BR>
> Classical: "Sounds of America"<BR>
> fluteworld or cdbaby<BR>
> </FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva"
> FAMILY=3D"SANSSERIF" SIZE=3D"=
> 2" STYLE=3D"BACKGROUND-COLOR: #FFFFFF"></FONT></HTML>
> --part1_1f0.1348b238.2ce593f3_boundary--
>
>
> ------------------------------
> Message-Id: <5(dot)2(dot)0(dot)9(dot)0(dot)20031113212028(dot)02a24ec0 (at)
> incoming(dot)verizon(dot)net>
> Date: Thu, 13 Nov 2003 21:29:54 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Sam Weiss <SamWeiss (at) bellatlantic(dot)net>
> Subject: Re: Klezmer Concertos and Encores
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> At 08:01 PM 10/24/03, AGREENBA (at) aol(dot)com wrote:
> >I believe this is the recording that includes Shoenfield's
> Klezmer Rondos
> >for flute and orchestra (and vocalist.) I would be interested to know if
> >others hear much klezmer. I turned it down to play with the symphony.
> >Didn't quite appeal to me, but interested what others think.
> >Adrianne
>
> Having recently heard Schoenfield's Klezmer Rondos in concert at
> the Milken
> conference, I can say that I wasn't excited about it either. It gave the
> impression of a klezmer orchestra furiously warming up at great length
> without getting around to deliver anything.
>
> _____________________________________________________________
> Cantor Sam Weiss === Jewish Community Center of Paramus, NJ
>
>
>
> ------------------------------
> Message-ID: <001201c3aa4f$b758e320$6501a8c0 (at) attbi(dot)com>
> From: "Steve Weintraub" <dancinsteve (at) comcast(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: +shers
> Date: Thu, 13 Nov 2003 20:36:24 -0500
> MIME-Version: 1.0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: 7bit
>
> Ari:
>
> In the instance that I stated, it was the source's recollection that only
> one tune was used. Like I said, that seems a bit boring, but it was how it
> was done at one time and place. I suspect that the habit of mixing tunes
> might have started with the popularity of the quadrille in the
> 19th century,
> which had 5 distinct sections with pauses between, and 5 distinct tunes.
> There were many quadrille choreographies, and many tunes, consequently.
> (Helen Winkler has an interesting reference to klezmers playing a
> quadrille
> in one of her Yizkor book references- "the ruined wedding")
>
> I recall Hankus Netsky remarking at Klezkamp that he heard an
> older musician
> state that whenever the "promenade" happened (either the couples, or the
> circling) the musicians always played the same tune. Since the
> sher doesn't
> seem to have been called, some musical cue is helpful to the
> dancers to keep
> their place. Multiple tunes can certainly be played, but they ought to be
> played in sets that correspond to the dance, it seems to me.
>
> And Adrienne- if you have a set of tunes you like, I think in this day and
> age its "kosher" to cobble together a sher version that fits it, provided
> that the phrase structure doesn't vary. It means being canny
> with repeats,
> or no repeats.
>
> -Steve W.
> ----- Original Message -----
> From: "Ari Davidow" <ari (at) ivritype(dot)com>
> To: "World music from a Jewish slant" <jewish-music (at) shamash(dot)org>
> Sent: Thursday, November 13, 2003 8:39 PM
> Subject: Re: +shers
>
>
> >
> > >So- what are we to do? I'm going to teach the "Workman's
> Circle" sher at
> > >Klezkamp, and insist that the musicians follow the dance. (Its not very
> > >hard to figure out- 6 x 16 bars). For any other version, I think its
> > >important for the teacher to work with the musicians on tunes that will
> > >fit that version.
> >
> >
> >
> > Steve,
> >
> > I hope it's obvious that musicians do need to follow the dance
> (or perhaps
> > not - else how did it become an issue!). This is partly what Deborah was
> > talking about on Monday night. But I think you are wrong about repeating
> > the same tune over and over. Zev Feldman was pretty clear that
> variations
> > were common, and that there were several examples of this - the one Zev,
> > Jeff, and Deborah played was a particularly rich set from
> Philly. From my
> > notes (attempts to transcribe as people talked):
> >
> > "These are the Morris Fried shers. He was a klezmer in
> Philadelphia. Shers
> > were meant to be medlies of short tunes. This is the best. This is a
> > klezmer classic. This is peculiar because from Byelorussia, not from the
> > south whence comes most klezmer music."
> >
> > Then, just before they began to play, as Zev waves his hand, as
> though at
> > the head of a line dance, I got this jist from Deborah (and is
> what I was
> > trying to remember, earlier, when I posted about the event to the list
> this
> > afternoon):
> >
> > "I have to say a couple of things. For one thing, we got our beat by
> > watching Zev moved his hand in dance rhythm. This was a revelation to me
> > because we so often play them too fast. Zev reminds us to play this to
> > dance. And the second thing, which is related, is that we used to just
> play
> > each section, then go on to the next. And as we rehearsed we
> have learned
> > that these don't just go from one to the other - they must fit to the
> beat,
> > and where the dance is."
> >
> > So, yes on fitting the dance, but yes, also, on having many
> variations --
> > which makes sense. Rhythms should stay the same for as long as the dance
> > goes on, but it is the variations that make it fun for the
> musicians (and
> > the dancers, I think, but I am a much better listener than dancer). And,
> of
> > course, by sliding into a new rhythm the band moves the
> participants from
> > one dance to the next.
> >
> > ari
> >
> >
> > Ari Davidow
> > ari (at) ivritype(dot)com
> > list owner, jewish-music (at) shamash(dot)org
> > the klezmer shack: http://www.klezmershack.com/
> >
> >
>
>
> ------------------------------
> Message-Id: <5(dot)2(dot)0(dot)9(dot)0(dot)20031113213309(dot)00acd240 (at)
> incoming(dot)verizon(dot)net>
> Date: Thu, 13 Nov 2003 22:19:55 -0500
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> From: Sam Weiss <SamWeiss (at) bellatlantic(dot)net>
> Subject: Re: Quartertones in cantorial music
> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"; format=flowed
>
> I forwarded for comment to one of the presenters at the Milken
> conference, Boaz Tarsi (Professor of music at J.T.S. specializing in
> cantorial modes), this recently discussed topic. I believe that he
> addresses very well the issues that we raised in our passionate -- albeit
> Just and Well-Tempered -- discussions. This is what he had to say:
>
> << On quartertones in nusach Ashkenaz:
>
> We have to first make the distinction between awareness of their
> usage and
> lack thereof, and if there is awareness, whether it is conceptualized or
> not.
> Then there are three other main issues to consider:
>
> 1) Tempered tuning as we know it is itself quite a young system.
>
> 2) Regardless of the formal and conceptualized system, in practical
> performance no one except for keyboard instruments really plays the exact
> frequency of the notes, tempered or not, and definitely not in a
> consistent
> manner. Furthermore, even the keyboard instruments (and harps) are tuned
> in a variety of systems, so in the reality of the performed sound
> there is
> a variety of pitch choices in any particular case.
>
> 3) What is meant by "quartertones?" Is it
> A- the less-than-exactly-half-step as the measuring unit
> B- the use of notes that are a quartertone (or anything less than
> half-step) apart, or
> C- the use of a variety of intervals that cannot be measured only by
> the amount of half steps they contain.
>
> Regarding the formal conceptual system in nusach Ashkenaz:
> Obviously we have no concrete evidence of the practice much before the
> mid-late eighteenth century, but if we were to accept the earliest
> semi-concrete
> evidence in the "Missinai Tunes" as a reflection of the Judeo-Germanic
> practices in the beginning of the second millennium, we should assume that
> the tuning system was identical to the local systems -- i.e., secular,
> folk, and "art" music of the time and place, which was basically the
> Western
> common practice of pre-tempered tuning -- which is still not really a
> quartertone system; rather, it is based on dividing the octave into the 12
> chromatic notes but not precisely evenly. This is still separate and
> fundamentally different from the tuning systems outside of the Western
> common practice.
>
> We do not know what Jewish (Hebrew) music in the time of
> antiquity and even
> later was, nor do we know what really happened to it as it evolved to
> become what is reflected in the 18th-19th century sources and current
> practice. It is possible, even probable, that it originally
> consisted of a
> different tuning system; but whatever it was then, it had certainly become
> "Westernized" by the time we can start tracing it back to medieval Europe.
>
> What [posters to the J-M list] report hearing in the cantorial recordings
> [i.e. the singing which deviates from "standard Western tuning"], whether
> deliberately sung or not, is not part of a formal system or even
> a commonly
> accepted performance practice, and is at best (if at all aware) a
> personal
> style or choice...>>
>
> -Prof. Boaz Tarsi
>
> _____________________________________________________________
> Cantor Sam Weiss === Jewish Community Center of Paramus, NJ
>
>
> ------------------------------
> Date: Thu, 13 Nov 2003 22:26:13 -0500
> Subject: Fish Street Klezmer -- New CD!
> From: Vladimir Liberman <vovka0 (at) gis(dot)net>
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Message-ID: <BBD9B585(dot)1307%vovka0 (at) gis(dot)net>
> Mime-version: 1.0
> Content-type: text/plain; charset="US-ASCII"
> Content-transfer-encoding: 7bit
>
> Folks,
> Check this out -- just got hold of the latest effort from Fish Street
> Klezmer Duo. In case you don't know them, they are Cantor Ken Richmond and
> his wife Shira, also with the Klezmaniacs.. (the website is
> www.fishstreetklezmer.com)
>
> THis CD is FUN FUN FUN! Lot's of blazing fast Fidl/Accordion
> duets -- check
> out the Sommerviller Doyne, an original from Ken, also Fish Street
> Freylekhs, composed by Shira.. Style, shmyle, my favorite line in
> a song is
> definitely:
>
> "Oh ty vodka, vodka gorkaya,
> Oy vey s'iz bitter, chort voz mi!"
>
> Anyway, you get 70 minutes of music and singing spanning Russian
> Freylekhs
> to Yiddish vaudeville, to hassidic tunes, all under one roof..
>
> Who said there was no Jewish culture NOB (North of Boston??)
>
> Vlad Liberman-- Having fun fiddling..
>
>
> ------------------------------
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: +shers
> Date: Thu, 13 Nov 2003 20:33:39 -0700
> MIME-Version: 1.0
> Content-Type: text/plain;
> charset="iso-8859-1"
> Content-Transfer-Encoding: 7bit
> From: winklerh (at) hotmail(dot)com
> Message-ID: <BAY2-DAV16qXItMcx4v00001119 (at) hotmail(dot)com>
>
> re: " (Helen Winkler has an interesting reference to klezmers playing a
> quadrille
> in one of her Yizkor book references- "the ruined wedding")"
>
> The chapter called the Ruined Wedding, from the book From a Ruined Garden,
> mentions a dance/dances called the Kutner or Larsey. The dance involved 8
> couples, according to the book, but there is no other information
> provided.
> I've tried contacting people with expertise in Polish dance, to see what
> those dances could have been, but no one so far, has had any information
> about them. There isn't any discussion of the sher in this chapter.
>
> Just wondering how the shine fits in with all this discussion of phrasing.
> In LeeEllen Friedland's article about the freilechs and the sher, she
> mentions that improvisation at any time for any reason, during
> these dances
> was completely acceptable. Her article talked about early
> immigrants to the
> US. With all that going on, it would have been challenging to keep to a
> particular musical arrangement in place each time the dances were done.
>
> Helen
>
>
> ------------------------------
> Date: Thu, 13 Nov 2003 23:36:23 -0500
> From: AGREENBA (at) aol(dot)com
> To: World music from a Jewish slant <jewish-music (at) shamash(dot)org>
> Subject: Re: +shers+shining
> MIME-Version: 1.0
> Message-ID: <41B7A04B(dot)21947F10(dot)00632635 (at) aol(dot)com>
> Content-Type: text/plain; charset=iso-8859-1
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>
> ------------------------------
>
> End of JEWISH-MUSIC Digest 2784
> *******************************
>
>
---------------------- jewish-music (at) shamash(dot)org ---------------------+
- RE: JEWISH-MUSIC digest 2784,
Yoel Epstein