Re: Yiddish poetry

[Sylvie Braitman <curlySylvie...>]

I mean an accompaniment that is written out because the composer has a
specific intention beyond chords indications.
One example is when I brought a Rossini aria to a jazz pianist: he got very
frustrated because he wasn't able to accompany me properly. He was a
beautiful pianist, but wasn't used to read that many notes that fast. So
it's not a polyphonic, homophonic issue. Just an issue of appropriate
writing for different languages.
I do care about the composer and always mention the author of any song. But
when Mordekhai Gebitig composes Dray Tekhtele for example, it is not
musically on the same level of complexity as Lazar Weiner's songs. They just
belong to different genre. It doesn't mean one is superior to the other.
Sylvie
----- Original Message -----
From: "I. Oppenheim" <i(dot)oppenheim (at) xs4all(dot)nl>
To: "World music from a Jewish slant" <jewish-music (at) shamash(dot)org>
Sent: Saturday, January 10, 2004 4:00 PM
Subject: Re: Yiddish poetry


> On Sat, 10 Jan 2004, Sylvie Braitman wrote:
>
> > I guess when I say art songs, I mean music that cannot be just written
with
> > a chord chart.
>
> So you mean polyphonic music rather than homophonic
> music?
>
> > But what do you mean when you say "A lot of what is
> > thought to be folk music isn't"?
>
> There's a lot of Jewish music that is assumed to be
> "traditional", simply because people don't care to
> find out who composed the songs in question.
>
>
>  Groeten,
>  Irwin Oppenheim
>  i(dot)oppenheim (at) xs4all(dot)nl
>  ~~~*
>
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