See Also...
History of Klezmer -
chapters
- Why bother about History?
- Early Times - First Millenium - Middle Ages
- Early
Instruments
- 18th Century and 19th Century
- Explosion
of Yiddish culture c1900 to WW2 - Yiddish Theatre - Vaudeville
- Some
musicians from the early 20th century
- 1920's
theatre music - 1930's - Show Songs - Foxtrots and tangos - Yiddish Film
- Twilight
and new dawn - the post war period
- 1950's
-1960's - 1970's
- 1980's - 1990's
- References
Part 1
Why bother about History?
It is important to understand the history and context of
the music because it then informs our playing of it. One source of information
about klezmer is books (see bibliography) but there are others - sleeve notes
to cds are often useful as are introductions to books of sheet music, as well
as klezmer performers and workshop leaders.
Klezmer music is a fairly recent
term. It was coined in the 1970s and comes from the Hebrew kley -zemer meaning
variously 'vessel of song' or 'tool of melody'. It originally meant the instrument,
then from the mid 17th century the musicians themselves - a klezmer, (the surname
of the Jewish musician in George Elliot's book 'Daniel Deronda') with the plural
'klezmorim'. It was only with the revival of this music in the 1970's that the
word became associated with the style of music itself. It's now used to describe
the music of Eastern European Yiddish-speaking Jewish communities, specifically
the instrumental music used for simchas (celebrations) such as weddings.
To
understand the background and history you have to look at the history of the people
who played the music - Jewish history and the history of the Jews of Eastern Europe
in particular.
Early times - the bible to c1900
In the Old Testament of the bible instrumental music is described as accompanying
the religious practices (the Levite tribe being responsible for the music in the
temple) and different instruments are mentioned. Although they were literate,
there is no written notation or sufficient description for us to know what the
music sounded like.
Music was believed to have magical powers, it could
promote religious ecstasy, it could perform miracles and heal emotional and psychological
damage.
The first destruction of the temple in Jerusalem resulted in the
exile of Jews to Babylon. When the period of exile ended many Jews stayed on and
communities developed in that part of the Middle East and further north into Central
Asia. Those who returned rebuilt the temple in Jerusalem but this was destroyed
in turn in 70 CE (Common Era) by the Romans. This led to the diaspora or dispersal
of Jews into Europe and North Africa.
The diaspora is an important event
in the history of klezmer because the destruction of the temple was a particular
tragedy for Jews. One of the traditions associated with mourning the loss of the
temple was that instrumental music should not to be played until the coming of
the messiah when the temple would be rebuilt. This prohibition was never lifted
and so, in theory, continues to this day. It is reflected in the fact that orthodox
synagogues do not have instrumental music and that generally religious services
are based on unaccompanied singing and chanting. Religious practices changed in
the diaspora, the role of the Levites as temple musicians disappeared and the
high status of musicians along with it.
Secular music became associated
with the decadence of the Greek culture in which the early diaspora Jews found
themselves. However, the diaspora also led to the development of a religion and
culture that proved to be very durable, enabling Jewish communities to survive
and continue to the present day.
First Millenium
During the first millennium Jewish communities developed in Europe and North
Africa. After the fall of the Roman Empire Spain was occupied by the Moors and
became the centre for a flowering of culture at a time when Western Europe fell
into decline. Jews were involved in some of the key developments in philosophy,
medicine, science, art etc. Then came the Christian reconquest of Spain and the
Inquisition. Jews were forcibly converted, killed, or left. Those who converted
became marranos, outwardly Christian but continuing to practice as Jews in secret,
celebrating festivals such as Passover.
Later, with the European conquest
of the New World, some of them emigrated to South America. Others left and settled
in North Africa or more tolerant European countries like the Netherlands, taking
their language, religious practices and culture with them - these are the Sephardic
Jews who speak Ladino, a language based in medieval Spanish. Many klezmer bands,
particularly those with singers, include sephardic songs in their repertoire and
sometimes the instrumental music (see for example Burning Bush).
Diaspora
Jews settled all over Western Europe and from the 9th century in an area that
is now Eastern Germany, called Ashkenaz where they flourished. However the Middle
Ages were difficult times - there were economic crises, plagues, famines - reflected
in religious and social events like the Inquisition and Crusades (from 1096).
The social and economic problems were reflected in a rise of anti-Semitism resulting
in riots and massacres. For example in York in 1190 there was a riot, the local
Jewish community took refuge in Clifford's Tower where they committed mass suicide.
The Jews were eventually expelled from England and didn't return until
invited back by Cromwell. Around the same time the Jews of Ashkenaz moved further
east into what is now Poland and beyond. They kept their name, the Ashkenazim,
and took with them their language, this became Yiddish (a mix of medieval German,
Hebrew and Slavic, written with the Hebrew alphabet) as well as their religious
practices and customs.
Middle ages
In
the early Middle Ages the growth of secular music was led by the troubadours and
wandering minstrels who played for all levels of society. Two Provencal Jews,
Bonfils de Narbonne and Charlot le Juif, were famous troubadours of the 13th century.
One of the first German songbooks, from 1450, is thought to be written by a Jewish
minstrel.
In Italy, with it's more liberal attitude to the Jews and cosmopolitan
cities, there are records in the 16th century of Jewish musicians and dance teachers
as well as a cantorial school led by Salomone Rossi who was patronised by a Duke
(for whom he also led an orchestra). Jewish instrumental music flourished in Italy
during the Renaissance (including a brief appearance of women musicians) but suffered
repression from the church in the 17th century.
In Germany, secular music
was played for dancing (their style of dance being quite different to that of
their Italian cousins) and dance halls flourished from the 12th century providing
entertainment in the form of theatre and cards as well as music and dancing.
Next
- Early Instruments
