 | Klezmer rapidshare |  |
| Posted: Sat Apr 12, 2008 7:24 am |
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To Giora Feidman - Your Klezmer Friends
pläne 88851, 2000
01. Nina's Freilach [4:12]
02. Barbara's Hora [2:17]
03. Schabes Polka [1:38]
04. Am Israel Chai [2:48]
05. Waltz / Bulgar [4:00]
06. Sedum [2:46]
07. Waiting for... [2:46]
08. Adonai Ro-lo-Eshassar [2:31]
09. Squotty Freilach [3:25]
10. Cuando el Rey Nimrod [1:49]
11. Connecting [3:23]
12. In the joy of the Nigun [2:13]
13. Nigun Cha Valuk [2:32]
14. All together in fellowship [2:38]
15. Improvisation 68 [3:36]
16. Forget the tears it's beautiful [3:16]
17. The Coming of spring [2:40]
320 kbps mp3; including full cover scans
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| Klezmer rapidshare | |
| Posted: Sun Apr 13, 2008 7:18 am |
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Lin Jaldati
Jiddische Lieder
Barbarossa EdBa01346-2, 1997
01. As der Rebe Elimelech
02. Dem Milners Trern
03. Nisim fun Rabejim
04. Hungerik Dajn Ketsele
05. Rabojsaj
06. Schwartse Karschelech
07. Jome, Jome
08. Ojfn Bojdem
09. Schustersche Wajbelech
10. Tsip Tsapekl
11. A Semerl
12. Dort bajm Breg fun Weldl
13. S brent
14. In Kamf
15. Hej Zigelech
16. Motele
17. Berjoskele
18. Der Balagole un sajn Ferdl
19. Amol is gewen a Jidele
20. Sog nischt kejnmol
All compositions by Martin Hoffmann.
| Quote: | | In the GDR there was no connection to the world centers of Yiddish culture. Israel was seen as an aggressor and song collections, for example from New York, were exchanged among friends but could not be found in any libraries. There were a few recordings by the Leipziger Synagogue choir, mainly religious songs, symphonically arranged. And the well known singer Lin Jaldati: she had survived Auschwitz. Occasionally, official politics made use of her good name. In 1966, she was allowed to release her interpretations of Yiddish resistance and folk songs on one side of a record, and about 20 years later an entire record was released. ... |
From an article about Lin Jaldati's daughter, the singer Jalda Rebling:
| Quote: | I first met her in the spring of 1984, at the first concert in "Berlin - Hauptstadt der DDR" of the Juedischer Musiktheaterverein Berlin which I had founded in West Berlin the previous October. She and her family were already quite famous, at least in Germany: Her mother, Lin Jaldati, was the last person to see Anne Frank alive, in Bergen-Belsen, and had been one of only five in a large family to have survived deportation from Westerbork to Auschwitz. Jalda's father, the pianist and musicologist Eberhard Rebling, a non-Jew, had met her mother while working for Republican Spain, joined the Communist Party with her, worked for the underground Resistance during World War II, and later became Director of the Hanns Eisler Music Conservatory in East Berlin. Now retired at 84, he still occasionally plays, as in the forthcoming memorial concert in honor of Lin, who died in 1988.
Beginning in the 1970s, Lin had a career as a singer of Yiddish songs. Jalda, a trained actress, first sang with her in 1979. Eberhard accompanied them at the piano, along with Jalda's older sister Katinka, a violinist, born in 1941. Their performances were classic, in both senses of the term, characterized by an enormous respect for the poetry, drama, melody, harmony, rhythm, laughter and tears inherent in the genre. They made LPs, and performed - in Israel in 1983, and at the Village Gate and Hebrew Union College in New York (as well as Amherst and Hartford) in 1986. But they always returned to Berlin, Hauptstadt der DDR. |
320 kbps mp3; including full booklet scans
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| Klezmer rapidshare | |
| Posted: Mon Apr 14, 2008 8:02 am |
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Kleztory & I Musici de Montréal
Klezmer. Premiere Recordings
Chandos CHAN 10181, 2004
01. Vi bist du gevezn far prohibition
02. Kolomeke
03. Moldavian Hora
04. Zol zayn gelebt
05. Ma Yofus, Odessa Bulgar
06. Firen di Mehutonim Aheym
07. Freylekh Yidelakh
08. Di zilberne Khasene
09. Dem Trisker rebbins chosid
10. Going home
11. Dem rebin's Nigun, Oy Tate
12. Omer Tantz
13. Violin Doina
14. Fund Tashlikh
15. Tears of Israel: Largo
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/99451754/K_IMdM-KPR.part1.rar
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| Klezmer rapidshare | |
| Posted: Tue Apr 15, 2008 7:28 am |
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Frelik, Sher un Khusidl ... Brass Bands from Podolia, Klezmer and Other Jewish Music
Extraplatte EX-PHA 001, 2006
Band of the motor vehicle firm from Mogilev-Podolsk (Ukraine, Podolia)
01. October March (02:08)
02. Ershter vals (03:27)
Ida Gelfer from Kiev (Ukraine)
03. Grine felder – soldier song (02:46)
Brass band from Studena (Podolia)
04. Frelik (03:25)
05. Frelik (04:25)
Aaron Polishuk (vocals) & Igor Polishuk (accordion, tr. 7-8) from Mogilev-Podolsk
06. A koptsn’s lid (01:39)
07. Fleshele – satirical drinking song (02:27)
08. Yiddishes tango (02:48)
Brass band from Pisarevka (Podolia, Yampol district):
09. Sher (01:45)
10. Frelik (02:08)
11. Sher (01:44)
Abraham Libman (violin) from Ivano-Frankivsk (western Ukraine)
12. Khusidl (00:38)
13. Sher (01:15)
14. Israels gevayn (00:56)
Brass band from Kodima (Podolia)
15. Sher (02:38)
16. Old Sher (01:30)
17. Sherele (00:59)
18. Frelik Chaim (01:14)
Alexandra Weksler (vocals) & Felix Kushnir (piano) from Bila Tserkva (Ukraine)
19. Abi gezunt (02:14)
Brass band from Pescanka (Podolia)
20. Heyser Bulgar (02:02)
21. Frelik (01:20)
22. Ukrainian Polka (02:21)
Efim Chorny (vocals) & Susanna Ghergus (piano) from Chisinau (Moldova)
23. S’iz finster in gas (02:34)
Taraf from Edinet (northern Moldova)
24. Sher (02:35)
25. Belz – foxtrot (02:04)
| Quote: | This new CD series of the Phonogrammarchiv presents the results from field projects conducted in cooperation with the archive. Vol. 1 is dedicated to recent field work by Isaak Loberan, the Vienna-based Klezmer musician and researcher.
Authentic recordings of brass bands in Podolia (Ukraine) and parts of Moldova, made between 1991 and 2002, document the influence of Jewish folk music on the musical tradition of neighbouring ethnic groups. The Ukrainian and Moldavian bands perform an important part of their current wedding repertoire – Jewish dances, like frelik, sher or bulgar, which the musicians themselves or their fathers formerly played together with Jewish klezmorim.
In addition, songs and violin music by elderly performers recall the once flourishing Yiddish musical culture; also featured are examples of the cultural revival encountered among the local Jewish communities. |
| Quote: | A lot of research has been done to understand the development of klezmer music after it has arrived in the United States. To a far lesser extent the development of this music and its history in the former Soviet Union have been researched. It is perhaps not known that brass bands from the Podolia region in the south-east Ukraine always did, and up to now perfectly know how to, play Jewish repertoire.
The reason why Ukrainian or Moldovan musicians know this style lies in the fact that they themselves or their fathers had formerly played together with Jewish musicians. As a result of the Holocaust and the "cleansings" of the Stalin regime the local Jewish population was decimated (or even wiped out) to such an extent that nowadays Jewish bands no longer exist. Nevertheless, Jewish melodies found their way into the music of other ethnic groups such as the Ukrainians, Moldavians and Roma. Today this music is a key feature of the wedding repertoire of the majority population in Podolia and parts of Moldova.
Ethnomusicologist Isaak Loberan—originally from Moldova, now living in Austria—made six field research trips between 2001 and 2002 to find and record brass bands and other musicians who play Jewish repertoire. Together with recordings collected by the ukrainian ethnomusicologist Rayisa Gusak already in 1991 these treasures of klezmer music and (to a lesser extent) yiddish songs have now been published on a CD entitled "Frelik, Sher un Khusidl …—Brass Bands from Podolia, Klezmer and other Jewish Music".
Most interestingly the CD starts with a piece called "October March" played by the band of the motor vehicle firm from Mogilev-Podolsk, where also German Goldenshteyn once lived. Indeed, some of the music on this CD can also be found in the Goldenshteyn repertoire. But back to the "October March". The reason why this band also played such a piece can be derived from the historical background. During Stalin's dictatorship Jewish artists were put into prison camps or executed. Yeshivas and later Jewish primary schools and technical colleges were closed, the practice of sacred rites was banned. This resulted in the disappearance of a whole range of traditional customs at Jewish weddings and religious holidays. Tradition was supplanted by revolutionary celebrations with new customs, a new music repertoire and brass bands accompanying them. The influence of the music of proletarian celebrations - such as Revolutionary Day on 7th November or May Day - can clearly be seen in both the repertoire and sound of brass music. The second piece on this CD features the same band playing an instrumental version of "Ershter Vals". The style is the same as before, so you can clearly see the influence described above.
Beside brass bands, Loberan also recorded a few violin solos and some yiddish songs, performed by old people who know to speak Yiddish. Yiddish is today spoken by only a few people, especially the elderly. Loberan therefore asked aged women as bearers of tradition about their songs. His approach proved successful and he managed to record vocal music not found in any anthology, e.g. a soldier song or drinking songs. Fortunately, Jews living in bigger cities often try to preserve Yiddish. They also write their own songs in yiddish like Efim Chorny. He is also presented with one song on this CD.
Loberan has also published a book last year where one can find sheet music of pieces he has collected on his journeys. The book is called "Klezmermusik aus Moldawien und der Ukraine vom XIX bis XXI Jahrhundert. Volume 1 (Klezmer music from Moldova and Ukraine from the 19th up to the 21st century, Vienna 2005, ISBN-3-9501922-04; comments in German/Russian/English).
The book and the CD is titled Vol. 1, so hopefully more of his field recordings will be published in the future. - Günther Schöller |
| Quote: | This release consists of recent field recordings of Jewish music and song in various forms collected largely in the field in Moldova and Ukraine by R Gusak and Isaac Loberan between 1991 and 2002. Broadly, the material falls into three categories: brass band music, unaccompanied Yiddish song, and some remaining fragments of a once flourishing klezmer tradition of violin playing. In format it consists of a mixed cultural bag which, overall, never seems to quite gel satisfactorially.
By far the most interesting items (and happily comprising better than half of the total tracks) are those featuring the brass bands, who perform an exhilarating cultural hybrid which at times is simply stunning in its intensity. Interviews conducted with aged musicians reveal that the musical training of many native, gentile, band players was often undertaken by Jewish klezmorim, who inevitably brought with them their repertories of dance music. As Loberan states (on page 17), 'The musicians have inherited repertoires of their fathers, who had played together with klezmorim at weddings before world war II.' He is rightly sceptical regarding the widely-assumed parallel development of klezmer in situ and in the American diaspora (page 9), correctly identifying the massive influence of the burgeoning jazz scene on the latter developing form. He details the modern-day survival of Jewish wedding music not among the small pockets of surviving Jews (decimated or exiled by successive repressive oligarchies) but among the gentile population of the two regions noted above, and by the peripatetic Roma.
Although, regrettably, few personnel details are given for the composition of the brass bands beyond the name and, usefully, the ages of the leaders, the photographs of five featured ensembles reveal multi-generational line-ups, and not all feature old men. One would liked to have learned to what extent transmission to those middle aged musicians most frequently depicted had altered the character and melodies of the older forms. Conversely, specific instrumentation is documented in meticulous detail; though it's interesting that no specific tune titles appear to have survived, each item being identified generically by the dance form it accompanies. Which throws up yet another question. This was originally functional dance music. To what extent does it still fulfil this role, or it is now solely passively received entertainment?
One would like to have learned also of any changes in the overall musical texture brought about by the obviously relatively late addition of the button accordion (bayan) present in three of the five line-ups. 'The bayan backs up the trumpet's melody with harmonic and rhythmic accompaniment, occasionally itself leading the melody', Loberan states (page 17), though on track 1, and elsewhere, it is mainly vamping. I lament the presence generally of this instrument, which (to my ears) adds little of any positive value. Still, it is certainly not within a reviewer's remit to criticize sanctioned indigenous cultural development. On the rhythmic front, a large deep drum frequently functions in the role of the bowed bass often heard in earlier klezmer bands. In one header note the compiler states, 'The baratonist plays the baritone with his right hand and the big drum with his left, simultaneously.' (page 23) - a photograph would have been instructive on this point of dexterity.
Of greatest interest by far are the tracks on which the trumpet most often takes the melodic lead, and whenever this occurs it raises hairs on the back of the neck. Virtually any such track could be recommended, but Old Sher, played by the band from Kodima (Posnia) is exceptional. The trumpet renders an exhilarating series of speedy cascading arpeggios, and the whole track is unsatisfactory only by being too short by far (and certainly of no use for dancing). The identification of the band leaders, already noted, fortunately gives us the names of some of these spectacular trumpeters. On this occasion it is Vasiliy Baranovsky, who may be heard again on track 15. Tracks 9 to 11, by a band from Pisarevka (Podolia), are fronted by Vasiliy Baylo; while 20 to 22, an ensemble from Pescanka (Podolia), showcase the playing of Nikolai Kolisnitshenko. I doff my hat to all three, who certainly deserve more widespread recognition and praise.
But the release is not all brass band music, although I would have been happier if it had been. There are three solo violin pieces from Abraham Libman which are less than enthralling. His is a middle class tradition (his father a clock maker, himself a retired judge), but he is so out of practice that even he might have preferred these examples not be presented to a wider public. Of the remaining items little enthusiasm may be generated. The unaccompanied Grine feider, by the octogenarian Ida Moiseevna Geffer, is rendered in a fairly histrionic style, and one can imagine the singer wringing her hands during performance. Even this contains vestiges of the older vocal tradition, however, but of questionable value to those interested in that genre are two final items which I could have well done without. Abi gezunt is performed by a formal female singer with piano accompaniment. This is concert hall music, and it comes as no SPAMise to learn that the words are credited to Molly Picon. And, finally, it is almost impossible to understand why S'iz finster in gas, 'a contemporary song in Yiddish ... in the spirit of a folk song' has been included. Folk song? It wouldn't be out of place in a theatrical production of Cabaret. As the CD rushes towards its conclusion, the compiler has for some unknown reason felt it necessary to include a couple of tracks by a taraf from Edinet (northern Moldova), which have an altogether different musical texture. Sher (track 24) features sax, violin, button accordion and synthesiser, the latter replicating a bowed bass line. At times the saxophonist verges on that 'weeping' tone so beloved of clarinet player Dave Tarras and other older Jewish musicians recording in New York during the nineteen teens and 'twenties. This is, by and large, a perfectly acceptable inclusion, but Foxtrot, by the same group, is a different beast altogether, with synthesiser now acting as piano and operating on its digital percussion setting. It's difficult to understand why this example is here, other than to show that the old tradition can and does move further and further away from its roots as the generations pass. Thank you, but we know (and I personally lament) that, and don't need to be reminded. It's a pity that the CD has to end on such a down note.
A curate's egg of a release, then. At its centre are the hard driving dance tunes played by the brass bands which make for great listening (and dancing too, if you feel so moved) and deserve a much wider exposure than they get here. On the periphery stand music and song which reflect modernised and modernising developments of lesser ethnomusicological interest and importance. This is apparently the first volume in a planned series. Perhaps it is the intention that future releases will focus more specifically on the various cultural facets heard here. My advice, though, would be: more of the wonderful brass bands and fewer (or none) of the rest. - Keith Chandler |
320 kbps mp3; including full booklet scans
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| Klezmer rapidshare | |
| Posted: Wed Apr 16, 2008 8:08 am |
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Yale Strom & Hot Pstromi & Klazzj
Café Jew Zoo
Naxos World 76026-2, 2003
01. Birobidzhan (Kompanayetz)
02. Hora Din Caval (Strom)
03. The Bonesetter's Last Dance (Strom
04. Stoliner Skotshne #1 (Trad)
05. Imenu Malketseynu (Strom)
06. Dorohoi Khusidl (Strom)
07. Cafe Jew Zoo (Strom)
08. Shakhres (Strom)
09. Yekele The Bonesetter (Strom)
10. Stoliner Skotshne #2 (Trad)
11. L'chayim, Comrade Stalin! (Strom)
12. Waltz Amur (Strom)
13. Ten Plagues (Strom)
| Quote: | Yale Strom kicks off the Café Jew Zoo festivities with an explanation about the roots of klezmer, as it relates to his vision of New Jewish Music.
The range of music emanates from the DNA of klezmer, which is the melismatic prayer modalities chanted by the ancient Hebrews of the Middle East. We klezmorim today often overlook that Abraham came from Ur in Iraq, and not Uman in Ukraine. Thus, in tunes like "Bonesetter’s Last Dance," "Dorohoi Khusidl," "Hora Din Caval," and "Shakiris," the Middle Eastern tonalities can be easily heard?
I suspect that it does not get any more basic than that. What rolls out on the aural waves of Caf? Jew Zoo is one of the most intelligent, integrated, and delightful surveys of klezmer that one is likely to encounter. The disc ranges from the traditional vocals of "Birobidzhan" and solo guitar performance of "Hora Din Caval" (beautiful) to the wild and wooly ("The Bonesetter’s Dance" and "Caf? Jew Zoo"). "The Bonesetters Dance" is klezmer strained through the terministic screen of the 21st century. Strom composed the piece with the appropriate amount of humor and reverence to make it an effective modern klezmer piece. Think of a Jewish Sun Ra.
Yale Strom accomplishes his wish to explore the evolution of klezmer. This Eastern European music is as immediately identifiable as is Piazzola’s tangos. The music is readily danceable and sunny with a tinge of melancholy. Caf? Jew Zoo makes a splendid introduction to the uninitiated in this Jewish spirit of music making. - C. Michael Bailey |
| Quote: | | This CD really features the virsatility of Yale Strom's composing and writing skills. There are tunes that sound rather traditional like "L'Chayim Comrade Stalin!" and tunes that really take klezmer to new realms like the Motown feel of "The Ten Plagues." Special guest Andy Statman plays four tunes on the CD. Two on mandolin and two on clarinet. Again the sultry voice of Elizabeth Schwartz can be heard on the 6 vocals tunes including the title track "Cafe Jew Zoo" which Strom says is his homage to Kurt Weill and Bertol Brecht. Virtuosi Mark Dresser & Marty Confurius (bass), Peter Stan & Ismael Butera (accordion), Benny Koonyevsky & Jim Mussen (percussion), Elizabeth Schwartz (vocals) and Yale Strom (violin) make this a landmark CD in the genre of "new" Jewish music. |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/103351217/YS-CJZ.part1.rar
http://rapidshare.com/files/103354498/YS-CJZ.part2.rar |
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| Klezmer rapidshare | |
| Posted: Thu Apr 17, 2008 7:07 am |
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Karsten Troyke
Shulyom Alaykhem. Yiddish Songs
Zooroqoo Productions ZQ 001, 1991
01. Shuloym Alaykhem
02. Papirossn
03. Dus Gezang Fin Mayn Harts
04. Die Katarinke
05. Broygez
06. A Raidale Iz Die Gure Velt
07. Di Gyldene Pave
08. Ver Bin Ikh
09. Rabaynu Tam
10. Neshumele, Dy Mayns
11. Dem Saydns Nigun
12. Ven Ikh Soll Dikh Farliren
13. Sheyn Vi Di Levune
14. Ikh Hob Gelosst Mayn Harts In Budapest
| Quote: | Karsten Troyke (born Karsten Bertolt Sellhorn on 14 August 1960 in Berlin) is a German singer, actor, and speaker. He is best known as an interpreter of Yiddish song.
Performing on stage since 1982, Troyke had earlier worked as a gardener and with mentally handicapped children. He studied singing (with Leonore Gendries) as well as drama and speaking, and in 1990 he gave up his work to dedicate himself completely to musical performance and theater. Troyke participated in radio plays, worked as a voice actor (dubbing), and participated in various stage plays.
As a singer, his album Yiddish Anders (1992) received the praise of German record critics. Jidische Vergessene Lieder (1997) contained previously unpublished songs of Sara Bialas Tenenberg, who became his mentor for the Yiddish language.
In his performances Troyke often works with Bettina Wegner, Suzanna and the Trio Scho. His interpretations of the songs of Georg Kreisler received mention in the writer/musician's 2005 biography. In 2006 two documentaries, Yiddish Soul and Concert Yiddish Soul, featured Troyke and other performers of Yiddish music. |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/103363593/KT-SAYS.part1.rar
http://rapidshare.com/files/103364185/KT-SAYS.part2.rar |
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| Klezmer rapidshare | |
| Posted: Mon Apr 21, 2008 7:49 am |
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| sismis_bajro |
| Super User!! |
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| Joined: Nov 22, 2007 |
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Andy Statman & Zev Feldman
Jewish Kletzmer Music
Album : Jewish Kletzmer Music
Performers : Andy Statman & Zev Feldman
Release date : 1977
Label : Shanachie
Number of discs : 1
Genre : Klezmer
Total size : 52,4 MB
Total time : 00:37:31
Individual track details :
1. A Galitsianer Tantsel (A Galican Dance)
2. Old Sher
3. Fun Der Khupa (From The Wedding Canopy)
4. Doina
5. Kallarash
6. The Bride's Waltz
7. Ternovka Sher
8. Kaleh Bazetsen (Seating The Bride)
9. Gypsy Hora And Sirba
10. Fihren Di Makhetonim Aheim (Escorting The In-Laws Home)
11. Alineinem (All Together)
12. Wedding March
@ 192 Kbit/s mp3
Biography:
A driving force behind the neo-klezmer movement since its inception in the early 1980s, Andy Statman, newly signed to Sony Classical, remains an extraordinary paradox: a musician devoted to musical tradition who also continues to break new artistic ground. A celebrated mandolin player in the "Newgrass" movement of the 1970s, Andy Statman (clarinettist/composer/bandleader) has recently reinvigorated yet another realm of traditional musicmaking - klezmer - with his own particular blend of virtuosity, and originality.
The Hidden Light (SK 60814), Andy Statman's first release on Sony Classical, draws upon his commitment to traditional repertoire as well as his singular capacity as a composer in the klezmer revival style.
Fronting a quartet that features such jazz luminaries as pianist Bruce Barth, drummer Bob Weiner and bassist Scott Lee, Statman leads the listener into equal measures of traditional and new music. This recording marks a new direction for Statman, in that it combines the spiritual depth of klezmer ¬ captured here in the niggunim, melodies from the mystical Chassidim of Judaism ¬ with the improvisational qualities of jazz.
A founding member of the Newgrass collective "Country Cookin'" in the early seventies, he marked his turn to klezmer with three recordings by the Andy Statman Klezmer Orchestra. Subsequent releases included a collection of traditional Jewish songs with mandolin - great David Grisman and another collection of klezmer recordings with Itzhak Perlman.
Acknowledged among the most authoritative of klezmer revivalists, Andy Statman was the pupil of master clarinettist Dave Tarras, who bequeathed his instruments to Statman when he died.
Download:
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| Klezmer rapidshare | |
| Posted: Sat Apr 26, 2008 9:22 am |
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Karsten Troyke
Leg den Kopf auf meine Knie
Raumer Records RR 12698, 1998
01. BimBam
02. Rabbi Tam
03. Der Brief
04. Oifn Weg
05. Ich bin der Weg gen Untergang
06. Ich bin der Regen
07. Nimm hin mein Lied
08. Schlaflied für mich
09. Leg den Kopf auf meine Knie
10. Jidisch
11. Unter deinen weißen Sternen
12. Der Ghetto-Geiger
13. Man sucht uns
14. Aleko
15. Die goldene Pawe
16. Flits Faigelech
17. Ich bin der Weg kain Maarev
18. Jidisches Kinderlied
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/110420551/KT-LdKamK.part1.rar
http://rapidshare.com/files/110421410/KT-LdKamK.part2.rar |
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| Klezmer rapidshare | |
| Posted: Sun Apr 27, 2008 12:25 pm |
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The Chicago Klezmer Ensemble
Sweet Home Bukovina. Notes from a musical journey
Oriente Musik RIEN CD 13, 1998
01. Doyna and Sirba Populara (6.40)
02. Sweet Home Bukovina (7.14)
03. Mazeltov (4.25)
04. Rumeynisher Bulgarish (3.45)
05. Hora Monzingo (5.29)
06. Yosl Ber (5.09)
07. Yismekhu V’malkhuskho (2.48)
08. Trinkt Briderlakh (6.41)
09. Shadeshudes (5.30)
10. A Hora mit Tsibeles (6.22)
11. A yidishe Neshome (4.42)
Kurt Bjorling - clarinet, tsimbel, accordion
Eve Monzingo - clarinet, piano
Joshua Huppert - violin
Deborah Strauss - violin
Alan Ehrich - double bass
| Quote: | The Chicago Klezmer Ensemble is a local Chicago treasure, almost unknown outside of their home town. They pretty much don't tour. Kurt Bjorling, the lead clarinet tours as part of Brave Old World (and even put in a stint in the Klezmatics way back). But for the rest of us, appearances such as last summer's gig at Toronto's Ashkenaz festival were a near once-in-a-lifetime opportunity to hear the ensemble live. You can still listen to RealAudio excerpts from one of their performances at the festival, and hear much of the material on this new, first CD.
There are two things that make the Ensemble unique. In the first place, they are very, very good. That is rare enough. In the second place, there is a treatment here of klezmer as if it were concert music that can be a lot of fun. It's entirely anachronistic, but it's certainly a lot of fun. What isn't anachronistic is the way that the band reaches back to klezmer traditions that predate the early American klezmer bands, back to Europe, and reconstructs something that is sometimes, in jest, and with some seriousness, called "Old timey klezmer." The label makes some sense because, unlike modern bands, there is no thumpa thumpa drum here. No drum at all. Instead, there are two people who alternate on clarinet and tsimbl, two fiddles, and a great bass. It is, in short, an ensemble from an earlier period of Jewish music.
In the CD liner notes, ethnomusicologist Zev Feldman notes:
To understand the performance of the Chicago Klezmer Ensemble contemporary listeners must realize that in pre-immigration times klezmer music had a dual function, both as ecstatic dance music and as sophisticated music for listening. In Europe only the best and most sought-after klezmorim, such as the tsimablist, Gusikow or the fiddler Peducer, were capable of creating such a performance. In America little need was felt for this sophisticated style, ....
In other words, just as classical forms of Western music had both their popular, "dance" expressions, and their "classical" expressions, so, too, with the traditions of excellent musicians elsewhere in Europe. In this sense, as I wrote last year about Budowitz, Josh Horowitz' "early klezmer" ensemble based in Austria, this music goes and shatters our sense of a monolithic, limited sense of klezmer (just as the klezmer revival, itself, rescued the sense of American klezmer from the caricature of "Fiddler on the Roof" tunes to which it had been remembered by the 1960s and 1970s). In this sense, the Chicago Ensemble, as Feldman notes, is among the radicals and avant gardeists playing klezmer today. In this they are joined by instrumentalists such as Jeff Warschauer and Alicia Svigals in recreating an early klezmer repertoire and then taking it in new directions suitable to this century and time.
On the back of the current CD, the band notes, "In 1936 the great blues artist Robert Johnson recorded "Sweet Home Chicago" referring to a city where he never lived and which he may never even have seen. Similarly, we've never been to Bukovina, and although klezmer music once thrived here, it is now a 'sweet home' of memory and myth to which this music will always belong, and for which it will always express a deep yearning."
So there you have it. The Chicago Klezmer Ensemble is to klezmer what Robert Johnson was to the blues. On the evidence of "Sweet Home Bukovina," I can live with that summary.
This album is not dance music (not primarily), nor is it jazz, the usual post-klezmer area of exploration in this country. It is a purified essence of Jewish music, expressed in a classical, sometimes chamber music style. It is beautiful and intricate, complex. There is also a warmth and soul to the music (and sometimes, it just plain moves) that is apparent only in the best of classical performances, exemplified best, perhaps, by Eve Monzingo's "Hora Monzingo." This number is followed by the solemn joy of Kurt Bjorling's arrangement of the traditional "Yosl Ber;" one is transported elsewhere and elsewhen. The bass line in the first half of the medley so catches a sense of Jewish melodic archetype that one senses the band has tapped into some secret "from deep in the forest" source of Yiddish music-keit, and then the melody picks up rhythm and pace to become a formal-sounding dance. Since first hearing this medley live I have had a hard time not imagining Jewish contra dancers at an upper crust society simcha way out, oh, way out there Bukovina way, somewhere on the road to Transylvania, but closer to home and always in memory.
Like their earlier cassette release, "Sweet Home Bukovina" is a very special recording. I can only hope that it receives wider distribution than the cassette. Their label, Oriente, however, lacks extensive American distribution. Should you have difficulty finding this recording in your local store, you should first secure your personal copy, immediately, through the band. Armed with aural proof of the band's immense talent, you can then challenge the buyer at your local emporium of fine recordings to a Yiddish spelling bee, and upon winning same, insist that she or he stock this soon-to-be best seller. - Ari Davidow |
| Quote: | Active since 1984, The Chicago Klezmer Ensemble are one of the oldest klezmer music groups in America. This recording is the product of thirteen years of performance, experimentation and new compositions. While many Jewish American klezmer music groups have subordinated musical taste to ethnic nostalgia, this ensemble looks to the essence of the musical structures underlining klezmer music and takes these as the starting point. For that reason they are both extremely traditional reflecting pre-immigration East European Jewish musical style ans avant-garde, creating original arrangements and successful new compositions.
In 1936 the great blues artist, Robert Johnson recorded "Sweet Home Chicago" referring to a city where he had never lived and which he may never even have seen. Similarly, The Chicago Klezmer Ensemble have never been to Bukovina, and although klezmer music once thrived there, it is now a "sweet home" of memory and myth to which this music will always belong and for which it will always express a deep yearning. |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/110608237/CKE-SHB.part1.rar
http://rapidshare.com/files/110610074/CKE-SHB.part2.rar |
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| Posted: Sun Apr 27, 2008 12:26 pm |
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Solomon & Socalled
Hiphopkhasene
Piranha CD-PIR1789, 2003
01. Introduction
02. Dobriden
03. Badd-Khones
04. Freylekhs Far De Kale
05. Alt.Shul Kale Bazetsn
06. Electro Taxim
07. 7 Blessings
08. Freylekhs Fun Der Khupe: "Pelt Me With Rice"
09. Hassidish
10. Gasn Nign
11. Zay Gezunt: Pagamenska
12. Hiphopkele
13. Dobriden "Yardstyle For The Mekhutonim": Socalled / P.S.Bova Remix
14. The First Time: "Pleasure Of S"- Smadj Remix
15. Headphoines: Glass Smash Remix
Solomon - violin, 5string violectra, viora cu goarna
Socalled - beats, loops, samples
Special Guest
David Krakauer - clarinet (& krakmanvocalfreestylin, 9)
Featuring
Michael Alpert - badkhones (3-5,7,14), vocals (9), sekund fidl (2,4)
Nik Ammar - guitar (10,11), pint glass (11)
Josh Dolgin - vocals (5,8,9,12,14), accordion, fender rhodes, glockenspiel, hammond organ, piano, pianorgan, wurlitzer
W. Zev Feldman - tsimbl (2,4,6,13)
Sol Gunner - bass (12,13), violin (12)
Don Headgear - live samples (5)
Elaine Hoffman-Watts - drums (4,9)
Susan Hoffman-Watts - trumpet & vocals (8), trumpet solo (9)
Frank London - lead trumpet & vocals (8), trumpet (9)
MC Dick van Myke - nicecupofteavocal (5)
Philip Shaw Bova - drums (13)
Smadj - oud (14)
Cantor Sam Weiss - vocal sample (13)
| Quote: | Is the stereotypical Jewish wedding ripe for deconstruction? Is it time to move beyond the last generation's shtick and create an entirely new shtick? Can I possibly make the rhetorical more obvious?
From the smart-alec sampling and voice that opens the CD, to the sampling of the hiphopkhasene itself that closes the album, this is tremendous fun, great music, and it's about time!. The contrast between Zev Feldman's tsimbl, followed by Michael Alpert playing the role of badkhn (who else!), immediately followed by a clip from an old wedding LP explaining the badkhn's role, this album is an absolutely wonderful fusion of incredible new music: Feldman, Alpert, David Krakauer on clarinet, Frank London on trumpet, Solomon and Ste on violin, all mixed in with great samples of LPs past, and some really nifty wit - Socalled's rap on marriage as an archaic and oppressive institution, included.
There are a few things that make this recording special. First, there is the post-modern deconstruction/reconstruction of the Jewish wedding, itself. Then, as I said, there is the music. The combination of Alpert's witty Yiddish badkhus playing off Socalled's rap make this less a separation from the past, than a sympathetic reconstruction; a continuity with the past that reflects the way in which modern Jewish lives are lived less within one context, but are, in reality, fragments of intersecting roles and memberships and contexts. Listen to "alt. shul Kale Bazetsn" and you'll hear what I mean, but it hardly stops there. There changing of the Sheva Brachos with samples from today and from the fifties setting the soundtrack is a gas. The fusion is also, true to post-modern style, quite self-conscious. Thus, for many pieces the languages: hebrew, english, yiddish are noted for those who would not otherwise know (and, perhaps as a signification of the languages specific to the English-speaking Jewish-of-Ashkenazic-descent subculture of the mid-58th century).
This is the second foray into the world of Jewish hiphop by album partner Socalled (aka Josh Dolgin), whose "Hip Hop Seder" excited a lot of folks a couple of years ago. Sophie Solomon, the other partner in this khasene is the electric, intense violinist in the UK's rising "Oi Va Voy." Both have been known to perform (and to teach) impeccable traditional klezmer, and are among the most exciting of the latest generation of emerging new klezmorim. This album is further proof that neither klezmer, nor Jewish music in its breadth, remains static. As was true a hundred years ago, the concept of Jewish music expands and changes to reflect the music around us. Yet, there is still that funky core, as demonstrated on a very funky version of the joyous (in this instances, sometimes also actively sceptical) Second Avenue "Hopkele."
To me, these are the meat of the album. The album ends with remixes by Dolgin, and then by Smadj, continue the process, creating a sort of meta hiphop khasene, remixes of the remix, starting with a fascinating "Dobriden" that is also a discourse, in part, on both the process of the wedding and of the making of the album. By the time of the final remix, what is left is a sort of universal world dance beat w/khasene samples. Which, if you think about it, is what a good wedding celebration is all about. The summary is simple. This album is brilliant, fun, and brilliant fun. It's about time someone did this. Solomon and Dolgin and friends were clearly the people to do it right. - Ari Davidow |
| Quote: | It’s the pinnacle of every Jewish family: a giant traditional Jewish wedding. This marriage however has a unique twist to it: the khasene, or wedding, of the microphone to fiddle. Solomon & Socalled’s new collaboration HipHopKhasene pairs the two in a unique exploration of klezmer music with a hip-hop backbeat.
Solomon & Socalled, two prominent forces on the klezmer music scene, are united for the first time on their new release HipHopKhasene from Piranha Musik, released in the US on July 8, 2003. This union has already been called “the phattest wedding yet” (nowtoronto.com). It invites the listener to join in an ancient Eastern European wedding ceremony with a stomping hip-hop twist. The alternative klezmer wedding suite takes the listener through the ancient wedding rites—the ceremony, the ritual, the weeping of the bride, and the seven blessings.
Sophie Solomon, the so-called bride, is one of the leading young exponents of klezmer violin, fusing the traditional ornamentation and phrasing of the ‘fidl’ technique of Eastern European Jews with a truly modern sound that incorporates the latest in electronic effects wizardry. She has been playing the violin since age two and for a period of time spun ragga jungle at raves and festivals in Europe as DJ Starets. It was her father’s influence after spending a year in Moscow that drew her back to a more traditional style of music. Solomon is also known as the founder and also a member of the cutting edge BBC Music Nominees Oi-Va-Voi, with whom she tours extensively.
Solomon was revered as the “the revelation of the Krakow Festival of Jewish Culture 2002” when she played in front of a crowd of over 10,000 people live on Polish television alongside Klezmer Madness, The Klezmatics, and Brave Old World. According to Lifestyle Magazine, “Sophie Solomon is on the brink of what promises to be a wildly successful career.”
Solomon’s soon-to-be husband is Canadian DJ and hip-hop producer DJ Socalled. He mixes in comedy albums, Yiddish theater, and a variety of samples. Socalled’s first album The Socalled Seder was hailed as “one of the greatest works of Jewish music in years.” Socalled isn’t a DJ in the technical sense; he doesn’t spin turntables, but instead explores beats.
“I’m more of a producer. I got into collecting records because I wanted to do beats and you need them to do sounds. And collecting records, that’s what got me into klezmer,” Socalled told The Jewish Week. “That was my in to that whole sound and culture. No one else is sampling that stuff. Everybody is taking beats from James Brown and Parliament-Funkadelic. Nobody else is sampling Aaron Lebedeff and Moyshe Oysher.”
David Krakauer, clarinet virtuoso and best man, was the mastermind behind the project and introduced the couple to each other. Solomon had been experimenting with blending the two genres and Socalled provided the perfect backbeat to add to her klezmer violin style. |
| Quote: | It's a strange love affair, proper old-fashioned klezmer fiddler Solomon and wild beat thrower Socalled. Getting the families together for the wedding must have been a job -- you know how guitarist uncles and rapper brothers fight. It's obvious this relationship won't last. There's entirely too much energy put into the ceremony, too much passion for the patient journey of marriage. Listen, the bride is already having second thoughts. But the marriage of tradition and modern beats in HipHopKhasene is a great party, and we should take the time to enjoy it.
HipHopKhasene is a wedding as much as an album, and it's hard to analyze any one piece of the process. There's a bit of wild gossip in the "Introduction," and of course that awful scene of "Alt. Shul Kale Bazetsn" when Solomon got smashed and went on a rant during Slim Litvak's lovely hip-hop Yiddish blessing. But you can hear the love; it strains through "Freylekhs Far De Kale," a traditional piece rearranged with zest and discord, and the energetic gift of "7 Blessings."
With the ceremony over, it's time to turn off the brain and dance. "Dobriden Yardstyle for the Mekhutonim" and "The First Time: Pleasure of 'S': smadj remix" cover old conversations from the album and spin them out over tireless minutes of dance beats. With the conversation so repetitive, it's safe to tune out and hit the dance floor, at least until "Headphones: Glass Smash remix" ushers the happy couple out the door in a flurry of mad drumming and upbeat chants. Maybe the union won't last long, but this HipHopKhasene shouldn't be missed. - Sarah Meador |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/110614441/S_S-H.part1.rar
http://rapidshare.com/files/110615854/S_S-H.part2.rar |
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| Posted: Tue May 06, 2008 7:17 am |
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Gojim
Es firt kejn weg zurik... Jiddische Lieder aus dem Ghetto in Wilna 1941-1943
Extraplatte EX 139 CD, 1992 (?)
01. Ess is gewen a sumer-tag
02. Zi darf ess asoi sain ?
03. Hot isch mir di schich zerissn
04. Doss transport-jingl
05. Du geto majn
06. Pak sich ajn
07. Mir lebn ejbik
08. Friling
09. Arojss is in Wilne a najer bafel
10. Ponar- wiglid
11. Bombess
12. Izik Witnberg
13. Partisaner-marsch
14. Ess schlogt di scho
| Quote: | | Diese fundiert recherchierte Programm-CD über das Getto in Wilna dokumentiert Lieder aus der gleichnamigen szenisch-musikalischen Collage, welche die gojim in Zusammenarbeit mit Historikern und Zeitzeugen für das Hessische Staatstheater in Wiesbaden zusammenstellten. Mit diesem Programm reisten die gojim 1992 und 1993 in die baltischen Staaten sowie 1998 nach Israel, wo sie u. a. auch Überlebende des Ghettos Wilna trafen. Diese Begegnung wurde im Film "Wir leben ewig" von Carla Knapp festgehalten. |
| Quote: | Die Musikgruppe "Gojim" gibt es seit 17 Jahren. Anlass der Gründung war das Gedenkjahr 1988, als sich der österreichische Anschluss und die Reichskristallnacht zum 50.Mal jährte. Es fanden sich mehrere Studenten zusammen, die zwar alle keine Juden waren, jedoch gemeinsam jiddische Festtagsmusik spielen wollten, die Klezmermusik.
Heute bezeichnet Klezmer einen Musikstil und den Musiker, der diese Musik macht. Klezmer ist im Ursprung die Musik (ost)europäischer Juden, dargeboten auf Festen aller Art von umherziehenden Musikern, den Klezmorim. Klezmermusik wurde von allen Kulturen der Welt beeinflusst, und sie hat alle Kulturen der Welt beeinflusst.
Sie nannten sich "Gojim", was jiddisch so viel heißt wie "Nicht-Juden" – oder "Nicht-Gläubige". Bei konservativen Juden ist diese Namensgebung immer wieder auf Unverständnis gestoßen, denn "Gojim" wird im Jiddischen eigentlich wie ein abfälliges Schimpfwort gebraucht. Provoziert haben die Gojim aber immer schon gerne.
In Zusammenarbeit mit Historikern, Zeitzeugen und internationalen Archiven entstehen und entstanden Programme mit politischer Aussagekraft. So antworten "Gojim" auf den stetig zunehmenden Rassismus und Antisemitismus in Europa.
Die Gruppe bearbeitet meistens Lieder oder Texte, die von jüdischen Gruppen oder Künstlern aus vielen verschiedenen Ländern komponiert oder geschrieben wurden. Sie wirken Klischees entgegen und gehen in intensiver Auseinandersetzung mit dem jeweiligen Thema eigene Wege.
In ihrer Arbeit zeigen sie die Vielfalt der jüdischen Kultur auf. |
320 kbps mp3; including full booklet scans
| Code: | http://rapidshare.com/files/112337949/G-Efkwz.part1.rar
http://rapidshare.com/files/112338436/G-Efkwz.part2.rar |
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| Posted: Tue Jul 08, 2008 5:52 am |
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Die Musiktradition der jüdischen Reformgemeinde zu Berlin / The Musical Tradition of the Jewish Reform Congregation in Berlin
Beth Hatefutsoth BTR 9702, 1997
CD 1
01. Heiligung (Sanctification) (Louis Lewandowski)
02. Schön ist's (It is a good thing) (Louis Lewandowski)
03. Begrüsst (O welcome) (Robert Schumann freely adapted by Hermann Schildberger)
04. Dies ist mein Bund (This is my covenant) (Ludwig van Beethoven)
05. Wie schön (How goodly) (Louis Lewandowski)
06. Als die Schöpfung (When the Creation) (Arranged by Moritz Henle)
07. Einst in ferner Zeiten Tagen (It shall come to pass) (Louis Lewandowski after Carl Friedrich Zelter)
08. Nun lasst (Now let us praise) (Louis Lewandowski)
09. Heiligung (Sanctification) (Solomon Sulzer)
10. Hoch erhaben (There is none like unto You) (Solomon Sulzer)
11. Preist den Herrn (Praised be the Lord) (Louis Lewandowski; Solomon Sulzer)
12. Dein, o Herr (To You, o Lord) (Louis Lewandowski)
13. O höret das Wort (And this is the Law) (Louis Lewandowski)
14. Führ' uns zurück (Lead us back) (Louis Lewandowski)
15. Der Welten Herr (He is the Lord of all) (Louis Lewandowski)
16. Ja fürwahr (Yes, indeed) (Louis Lewandowski)
17. Singet und jubelt (Sing and rejoice) (Arranged by Hermann Schildberger)
18. So preisen wir (O praise the Lord) (Louis Lewandowski)
19. Heilig bist Du (You are Holy) (Louis Lewandowski)
20. SchMA JISRAEL (Hear O Israel) (Arranged by Solomon Sulzer and Stern)
21. Vor Dir, o Gott (Before You, O God) (Louis Lewandowski; Georg Neumark)
CD 2
01. Aus der Tiefe (Out of the depths) (Arranged by Louis Lewandowski)
02. Gott ist's (God is the light) (Louis Lewandowski)
03. Sieh, es schläft und schlummert nicht (Lo, He neither sleeps nor slumbers) (Louis Lewandowski)
04. Gib Frieden (Grant us peace) (L.Lewandowski, arrnaged by Hermann Schildberger)
05. ADONAJ ADONAJ (Adonay Adonay) (Arranged by Stern)
06. Gott ist mein Lied (God is my song) (Ludwig van Beethoven)
07. Du meine Zuflucht (You are my refuge) (Emil Breslaur)
08. WENISLACh (And it shall be forgiven) (Louis Lewandowski)
09. WAJOMER ADONAJ SsALAChTI (And the Lord said: I have pardoned) (Louis Lewandowski)
10. KI WAJOM HASE (For on this day) (Louis Lewandowsky)
11. Heilig heilig (Holy, Holy) (Franz Schubert)
12. Deinem Namen (Your name is God) (Louis Lewandowski)
13. Ich danke Dir, Herr (I thank You, O Lord) (Arranged by Louis Lewandowski)
14. Die Seele (The soul) (J. Stern)
15. SchMA JISRAEL (Hear O Israel) (Arranged by J. Stern; Louis Lewandowski)
16. Es wird nicht untergehen (Neither the sun nor the moon) (Louis Lewandowski)
17. Herr der Welt (Lord of the world) (George Friedrich Handel, arranged by Louis Lewandowski)
18. MAOS ZUR (arranged by Louis Lewandowski)
19. Jubelt dem Ewigen (Shout unto the Lord) (arranged by Louis Lewandowski)
20. AMEN
Gertrud Baumann - soprano
Paula Lindberg - alto
Joseph Schmidt - tenor
Frederick Lechner - baritone
Hermann Schey - baritone
Paul Mania - organ
| Quote: | This anthology of music was originally recorded in Berlin between 1928 and 1930 and can be considered one of the last musical achievements of a free German Jewish community. Sponsored by publisher Hans Lachmann-Mosse (1885-1944) and led by its Music Director, Dr. Hermann Schildberger (1898-1974), the Berlin Jewish Reform Community wanted to provide German Jewry with easily accessible music for the Jewish year. For the purposes of this recording project, the Congregation assembled a choir of more than a hundred voices and a group of Berlin's finest soloists (Joseph Schmidt and Paula Lindberg, among others). The double CD was recorded using the master discs brought by Dr. Schildberger to Australia in 1939 when he escaped Nazi Germany.
Musical works by Lewandowski, Sulzer and Stern are sung in German. Also incorporated into the service are musical pieces by Schubert, Beethoven, Handel and other composers, which were deemed to be appropriate. |
320 kbps including cover scans - no booklet, sorry!
| Code: | http://rapidshare.com/files/126634923/DMdjRzB.part1.rar
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| Posted: Sat Jul 12, 2008 7:09 am |
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Mame-Loschn
Jiddische Lieder
edition klezmer-music EKM 3507/8710
01. Dire-gelt
02. Ojfn pripetschik
03. Djankoje
04. Papir is doch wajs
05. Arum dem fajer
06. Dona, dona
07. Di selbe gasn
08. Sog nit kejnmol
09. Shtil, die nacht
10. Beltz
11. Kinderjorn
12. Di grine kusine
13. Dem milners trern
14. Bashanah habaah
Helga Lindstädt - accordion
Jochen Schwart - double bass
Nahum Schimanowich - violin
Stefan Kuck - clarinet
Klaus Mager - vocals, guitar
320 kbps including full booklet scans
| Code: | | http://rapidshare.com/files/128928778/ML-JL.rar |
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| Posted: Thu Jul 24, 2008 1:24 am |
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Chava Alberstein
Lemele
Rounder Europe RRECD 17, 2007
01. Guter Zikorn / Good Memory
02. Tfile / Prayer
03. Malkele / Malkele (Little Malkah)
04. Lemele / Little Lamb
05. Der Zumer Ovnt / Summer Evening
06. Vayse Yorn / White Years
07. A Gezind Zalbe Akht / Family (A Family of Eight)
08. Dray Shomrim / Three Guards
09. Oy Maydl Maydl / Oy girl, girl
10. Der Yam / The Sea
11. Viglid / Lullaby
12. A tog fargayt / A day has passed
13. Mayn Liber / My lover
| Quote: | | Calling someone her country's greatest singer would be a huge compliment to most performers. In the case of Chava Alberstein, however, it only tells a small part of the story. Alberstein is undoubtedly Israel's most accomplished singer, having released over 54 recordings since the late 1960's, many of them now gold or platinum. Alberstein is Israel; her development as an artist mirrors Israel's development as a country; her growing pains are Israel's growing pains. Alberstein and Israel are even the same age and they both share a tiny but powerful stature. In this haunting recording, "Lemele", in Yiddish, was recorded in the Czech Republic, produced by acclaimed producer Ales Brezina. |
| Quote: | | When Chava Alberstein (b. circa 1946) was only four years old, her parents moved from their hometown of Szczecin, Poland, to Israel; since then, Alberstein has become CBS Israel's longest-tenured artist, with nearly fifty albums to her credit (many performed in Hebrew). Alberstein's first love was traditional Yiddish music, but she came to embrace various folk, traditional, and worldbeat styles from all over the globe. Alberstein scored her first Israeli hit record in 1964, the year she was drafted into the army; 34 years later, in 1998, Shanachie made a best-of collection titled Crazy Flower available in the U.S. Later that year, Alberstein set the poems of several 20th-century Yiddish writers to music, resulting in a collaborative album with the Klezmatics entitled The Well. Yiddish Songs followed in early 2000. ~ Steve Huey |
| Quote: | Chava Alberstein (born December 8, 1947 in Stettin, Germany, now Szczecin, Poland) is an Israeli singer, lyricist, composer, musical arranger, and actress. She is one of the most important Israeli singers, with a career spanning more than 40 years.
Chava Alberstein was born in the town of Stettin, Germany, now Szczecin in Northern Poland. She came to Israel at age four, and grew up in Kiryat Chaim. In 1964, when she was 17, a nightclub appearance in Jaffa led to a CBS recording contract. She was drafted into the Israel Defense Force in 1965 and became one of the many Israeli artists to use entertaining the troops as a pathway to stardom. Since then she has released over 50 albums. She is one of the more famous Israelis to record in Yiddish as well as Hebrew and Arabic. Alberstein's husband is the filmmaker Nadav Levitan, who wrote all the lyrics on her "End of the Holiday" album. She is one of the recipients of Kinor David (David's Harp) Prize. |
320 kbps including full booklet scans
| Code: | http://rapidshare.com/files/131842505/CA-L.part1.rar
http://rapidshare.com/files/131843546/CA-L.part2.rar |
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| Posted: Thu Jul 24, 2008 1:24 am |
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Es wird nicht untergehen. Jüdisch-liturgische Gesänge aus Berlin, 1909-1937
Barbarossa, 1996
01. Magnus Davidsohn - Psalm 2.54
02. Verstärkter Synagogen-Chor - Deutsche Keduscha 6.38
03. Verstärkter Synagogen-Chor - Es wird nicht untergehen 2.28
04. Berliner Synagogen-Quartett - Ki Mizion 2.24
05. Berliner Synagogen-Quartett - Der Tag sich neigt 3.02
06. Manfred Lewandowski - Kidusch 3.03
07. Manfred Lewandowski - Kaddisch 4.22
08. Manfred Lewandowski - El mole rachamim 4.37
09. Joseph Schwarz - Kol Nidre 3.56
10. Karl Neumann - Kol nidrei 6.31
11. Hanns John - U'w Nuchau Jaumar 3.50
12. Hanns John - Chanukkah 3.18
13. Gemischter Chor - Matowu 2.37
14. Salomo Pinkasowicz - Aresches S'fosenu 3.07
15. Salomo Pinkasowicz - Zur Isroel 2.46
16. Israel Bakon - Jehi Rozon 6.40
17. Israel Bakon - S'miroth l'shabbath 6.21
| Quote: | | "Es wird nicht untergehn" stellt erstmalig Aufnahmen vor, die ausschließlich in Berlin entstanden sind. Zu hören sind vor allem Kantoren aus Synagogen mit liberalem Ritus, etwa aus der Fasanenstraße oder der Oranienburger Straße, aber auch die chassidischen Gesänge aus dem Scheunenviertel. So gibt die CD einen Einblick in das Wirken des Berliner Synagogal-Komponisten Louis Lewandowsky, sowie der Kantoren, Chöre und Instrumentalisten vieler Berliner jüdischer Gotteshäuser . Nicht nur in kulturhistorische Sicht ist dieses Album, das mit einem 54 seitigem informativen Beiheft aufwartet, ein Kleinod. Wenige von diesen Aufnahmen haben die Zeiten überdauert. Die Gründe dafür sind bekannt, aber ihre reiche Geschichte konnte Dank der Erfindung der Tonaufnahmen bewahrt werden. Seltene und kostbare Platten, die zumeist in jüdischen Kleinverlagen wie z.B. Semer (H.Lewin) in den zwanziger und dreißiger Jahren hergestellt wurden. Aber auch den Psalm von Lewandowsky gesungen von Oberkantor Magnus Davidsohn aus dem Jahre 1909. |
320 kbps - no booklet, unfortunately
| Code: | http://rapidshare.com/files/131847278/EwnuJlGaB.part1.rar
http://rapidshare.com/files/131849250/EwnuJlGaB.part2.rar |
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