This is an introduction to my personal world and view of Klezmer-music (introduction means “first Klezmer song” that i played here – in the meantime i added already some more). If the audience likes to hear more wonderful Klezmer played by me on my accordion, please let me know within your comments.
Some words first about the version that I play here. The first 2/3 of this song are played according to sheets from Helmut Eisels website, one of Germanys very best Klezmer-players (if not THE very best) on clarinet … and one of my idols. He is to me a model concerning playing Klezmer, a real master of his instrument and this genre at all. Helmut Eisel is in tight contact (a pupil and friend) of GIORA FEIDMAN, “the” legend of Klezmer and clarinet at all.
The last third is an improvisation by myself – some minor parts were intentionally removed, the end shortened and some notes scrambled/modified by purpose to keep my rights on this recording and to avoid commercialized usage by others – just to avoid problems. Eventually I will publish the complete song on a CD any time lateron, which is not yet ready to be published.
I just love this song and many other Klezmer-Songs in general ! YOU don’t need to be jewish (jiddisch) to love Klezmer too – just like me, I am not a jew.
By the way….
The “black” screen is by purpose:
The colour “black” stands in western culture for “mourning, grief, sorrow”. In memory to all the deads (Sinti, Roma, political enemies, not only jews and even many germans as well….) that were murdered by Nazi-regime during second worldwar. I am full of grief about what happened in my country just one generation before I was born.
You can ignore the comments (prayer) in the clip – if you like – but this is what I am feeling when playing klezmer. Playing klezmer is for me just similar to a prayer. This music is touching me deep inside, coming out of my heart, my soul. I hope, one (you) can hear that ! Let me know in your comments, please.
In early 1943, the Jewish Council of the Vilna ghetto announced a music competition. The winning entry was a melody composed by an eleven-year-old boy named Alek Volkoviski, who attended a music school in the ghetto and had composed several other songs already, including music for Avraham Sutzkevers poem A nem ton dem ayzn. The boy was already well known for his remarkable talent as a pianist.
This particular piece – titled Shtiler, shtiler (Hush, hush), with lyrics later added by the ghetto poet Shmerke Kaczerginski — became one of the best-loved songs of the ghetto. The lullaby was first performed at one of the last Jewish Council-organised concerts before the ghettos liquidation in 1943. Due to the increasingly tense environment, the original line all roads lead to Ponar had to be changed to all roads lead there now. Despite the modifications, the audience understood what was being implied, and the song became a hit.
With the liquidation of the ghetto, Volkoviski and his mother were sent to a concentration camp; they were two of the few Vilna Jews to survive the war. After the liberation Volkoviski moved to Israel, where he became a professional pianist working under the name A. Tamir. Shtiler, shtiler is still a popular and frequently performed song, often sung today in memory of the murdered Jews of Europe.
Fater, Y. (1970). Yidishe muzik in poyln tsvishn beyde velt-milkohmes. Tel Aviv, Velt federatsye fun poylishe yidn.