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- Festival Jazz'n'klezmer
15éme édition, du 8 novembre au 1er décembre 2016 à Paris.

- David Krakauer et l’Orchestre Lamoureux, direction Nicolas Simon, dimanche 19 mars 2017 à 17h00 au Théâtre des Champs-Elysées à Paris.
Au programme : Copland Prologue et Dance, extraits de Music for the Theatre - Debussy Rhapsodie pour clarinette et orchestre - Ellstein Hassidic Dance - Marhulets Concerto Klezmer - Starer Rikudim, extrait de Kli Zemer - Golijov K’vakarat - Musique traditionnelle Wedding Dance (arrangement de David Krakauer) - Musique traditionnelle Der Gasn Nign (arrangement de David Krakauer) - Krakauer Synagogue Wail, pour clarinette solo - Musique traditionnelle Der Heyser Bulgar (arrangement de David Krakauer).
La musique klezmer célébrée par France Musique. (en écoute jusqu'au 14/11/2017)

- A l'occasion de la sortie du dernier album de l'Amsterdam Klezmer Band et du dernier enregistrement de David Krakauer avec le groupe Anakronic, l'émission de France Musique "Easy Tempo" se met à l'heure des musiques juives de l'Europe de l'est et de leurs pérégrinations dans d'autres univers musicaux comme le Jazz, le rock, l'électro ou encore les musiques cubaines ou le tango argentin. (en écoute disponible jusqu'au 18/01/2019)

01 décembre 2009


Abe (Abraham) Schwartz (1881–1963) was one of the best known and most recorded Jewish bandmasters—as well as a popular dance-band violinist—in the New York area for many decades. His national and even international fame as what might be called today a klezmer band leader came from the manifold records of his bands under various names. He emigrated to the United States with his parents in 1899, at the age of eighteen, having spent his youth in Romania, near Bucharest, where he apparently acquired most of his musical skills on his own. After establishing a reputation as a dance-band leader in New York Jewish circles, his initial entrée into the frenetic recording industry occurred when he was engaged to supervise instrumental recording sessions for the Columbia label.
Schwartz’s own recording career was launched around the same time (ca. 1917) with his release of two so-called Russian dance melodies: a sher and a bulgar, played by his Oriental Orchestra. Neither song was Russian, but that exotic perception of “mysterious Russia,” especially of her idealized (and usually undifferentiated) Gypsies, sold in those days—as did anything perceived as “oriental.” Sheet-music publishers and record companies of that era frequently turned to immigrant Jewish musicians to front as authentic carriers of the “new” sounds. Such composers and arrangers—supposedly “fresh from Russia,” though most came from the Ukraine, Belorussia, Galicia, Poland, Romania, or Bessarabia—had the desired cachet as cultural transmitters. Yet many of those Jews had played together with Gypsy, Romanian, and Russian musicians in Europe and had absorbed some of their styles. Still, many of the tunes or styles were simply those played by klezmorim in various parts of eastern Europe—regardless of their pos-sible earlier derivation from host traditions. Schwartz, immediately following his first record, led bands on six other records in 1917.
(From Milken Archive )

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