safed.co.li

Category: Music

  • Yiddish Comes To The Stage

    As early as the 16th century, theatre was embraced by the Jews in the form of playlets put on during

    Yiddish Comes To The Stagethe Jewish holiday of Purim, known as Purim Spiels. The original spiels served the purpose of telling the story of Queen Esther, the female heroine of the Purim story. It wasn’t until the 19th century, however, that the Yiddish theatre was born. A journalist by the name of Golfarben gets t

    he

    credit for putting on the first Yiddish theatre act in Iassi, Rumania. As the venture took off, he expanded his operation by taking it to Odessa.

    Yiddish Shakespeare

    Golfarben took the Jewish klezmorim (klezmer musicians) and badchanim (masters of ceremonies) and put them together with existing non-Jewish actors and singers. This combined group of performers put on shows that Golfarben cobbled together. These first shows were so successful that others began to copy them. Examples of this type of theatre began to pop up in other parts of Europe as well as in America. In time, Yiddish theatre became a well-developed genre that included many styles, from the very literary Yiddish performances of Shakespeare’s works, to musicals, comedies, and what became known as “shund” or trash.

    The natural offspring of the Yiddish musical theatre boom was a commercial venture. Instead of today’s t-shirts, l

    ogo-laden mugs, and other memorabilia of performance, the Yiddish musical theatre audience went home carrying the sheet music from the songs in the show they’d just seen. This venture went hand in hand with the growing popularity of the home piano. The early 20th century found many home-owners purchasing their own pianos. The theatre fed the music and song sheet market with lots of material for the ardent home piano player.

    One of the earliest hits in sheet music with its origins in the Yiddish theatre was the 1908 Solomon Simulwitz tune, A Brivele der Mama (A Letter to Mother). At first, sheet music was published by the theatres, but publishers caught on and entered the market, adding sheet music for popular klezmer tunes, as well as for the show tunes. The operetta entitled Little Flower was published in 1909 and included the song Chasson Kalleh Mazaltov (Congratulations Groom and Bride) which became a runaway favorite. The tune became a standard at weddings. Plays began to be published, and once a play was published, the rights could be attained so that the plays could be performed by other professionals or amateurs in a variety of venues.

    Variety Shows

    In addition to the Yiddish theatre, the late 19th and early 20th centuries also saw the rise of vaudeville theatre. Vaudeville was performed as a variety show and included short sketches, acrobatics, and musical works. There were novelty acts and some of them were based on various ethnic stereotypes. Germans, Irish, blacks, and Jews were all fair game to be mimicked in the attempt to entertain an audience. Klezmorim found work on the vaudeville stage working as musicians, in blackface, and as Jewish stereotypical characters.

    Another venue that sprang up at this time to provide the klezmorim with a living was the silent cinema. Silent movies always had a musical accompaniment playing in the background and there were 42 cinemas in New York’s Lower East Side alone, in the first years of the 20th century. In addition to the dramas, romances, and westerns, the silent films sometimes included a depiction of Jewish life and this gave the klezmorim the chance to play the old, familiar tunes. The Jewish members of the audience always received these tunes with great warmth.

  • Where Words Lose Their Meaning

    A virtuoso fiddler who plays a wide variety of styles, Ruby Harris has performed at sold-out concerts at The Metropolitan Opera House, Lincoln Center in New York City, Carnegie Hall, and Avery Fisher Hall. Harris has performed before former President Clinton, prime ministers and mayors. The talented musician has appeared before the Democratic National Convention, MTV and

    Where Words Lose Their Meaning CBS Records. One of the first on the scene of the Klezmer renaissance, Harris has played with the Klezmer Conservatory Band, Andy Statman, The Klezmatics, Jazmer, The Maxwell Street Klezmer Band, and Soulfarm. Here, Harris speaks about some of the influences on his music.

    Q: How has cantorial music affected your playing—do you draw on any particular cantorial music or the cantors thems

    elves for inspiration?

    A: Just last week I played a concert in Chicago with the Tel Aviv Cantorial Institute [Choir conducted by] Cantor He

    rshtik and company. We both inspired each other very much. I’m a fan of the great cantors and any cantor that can move us spiritually.

    Uplifting Combination

    Q: Does Klezmer music have magical powers—can this music cause souls to awaken?

    A: I’ve seen it constantly, on all levels, from babies to the elderly. Music talks where words lose their meaning, music talks and communicates to the Neshama, or soul. People who play music have the power to bring people very high, or, unfortunately, the other way, too. Klezmer music with Torah values is a marvelous uplifting combination.

    Q: Performing music with rigor is a great workout. How would you rate the workout you get from playing Klezmer fiddle as compared to playing Bluegrass, Appalachian, or Cajun fiddle, for instance?

    A: I, who play all those constantly, see no difference in any of them. Once we’re jammin’, we’re workin’ out and breakin’ it down, as they say. Recently, on [the Jewish holiday of] Purim, we had ’em dancing for 4 hours straight going wild. Weddings can be the same.

    Very Present

    Q: Music soothes the savage beast and when musicians play for themselves, they choose particular songs or genres according to their mood and whim. When you play just for yourself, what mood would you be in if you chose to play in Klezmer style and how do you feel when you put your fiddle down?

    A: Klezmer for me is music for a good mood. I somehow am more inspired to play the up-tempo klezmer fiddle tunes, and the slower ones are beautiful and very present too. Putting my fiddle down is usually necessary to pick up my guitar, mandolin, or plate of fried chicken.

  • His Fiddle Speaks Words

    Ruby Harris is one of the original performers of The Diaspora Yeshiva Band, and has played his fiddle

    His Fiddle Speaks Words
    with the likes of Shlomo Carlebach, Piamenta, and The Moshav Band. The fiddler plays a variety of styles including Celtic, Blues, and Swing, has o
    pened for such greats as Ray Charles, Marshall Tucker Band, and Little Feat, and has performed with Peter Yarrow, Buddy Miles, and Pinetop Perkins. Harris was very active in the renaissance of Klezmer music and has performed with the Klezmer Conservatory Band, Andy Statman, The Klezmatics, Jazmer, The Maxwell Street Klezmer Band, and Soulfarm. Ruby agreed to speak with http://www.safed.co.il/ about Klezmer.

    Modern Klezmer

    Q: When did you begin to perform klezmer music?

    A: When I joined Diaspora Yeshiva Band in approximately 1976, there were only 2 bands playing the newly named genre called “Klezmer”: the Klezmorim and the Klezmer Conservatory Band. David Grey of the former called me to interview me about the new style of old music and I performed with members of the latter, Hankus Netsky and Don Byron in New York. Others were, like us, practically inventing modern Klezmer, and re-discovering the beautiful music of our childhood and ancestors.

    Q: How do you see the role of the violin in today’s klezmer repertoire?

    A: Of course I see it as major bordering on essential. Klezmer means 2 things: fiddle and clarinet. Everything else is just spice. Of course you sometimes need a whole band of all the instruments.

    Q: How do you explain the popular resurgence of Klezmer music in our time?

    A: Philosophically and musically: we are officially in the period of time known as the “redemption/ingathering of the exiles/end of days” and the Jewish soul is hungry for anything that brings us closer to the Mashiach*, and musically, people need an alternative to the synthesized sounds of modern pop, so they turn to the shmaltz, kugel and kneidlach (chicken fat, noodles and matza balls) of music, the rockin’ dance freilachs and the soulful Yiddish reminders of their grandparents.

    An Edge

    Q: Some say that white people cannot give an authentic performance of African American dance or music because they have different perceptions of rhythm. In this light, how do you feel about non-Jews performing Klezmer music—are they producing authentic Klezmer?

    A: Clapton and SR Vaughn play great blues, but Elmore and Muddy have a slight edge. Non-Irish play Irish music, n

    on-Spanish play flamenco music, so, therefore, non-Jews can play klezmer just fine, but a Jew has an edge over him regarding soul.

    Q: How do you explain the fascination of Eastern Europeans with Ashkenazi Jewish culture and Klezmer music?

    A: Jews had a tremendous influence on those areas, and a lot of people miss them and regret what Hitler and his henchmen did, and they feel guilty.

    Q: Which Klezmer musicians or styles do you draw on for inspiration?

    A: The old 78s: Taras, Brandwein, Belf, Schwartz, Secunda, Lebedeff, etc, and the new guys out there that devote their lives to bringing it back, plus the Klezmatics and the like, who take it forward to new heights.

    Q:What would you pinpoint as the major technical challenges in performing Klezmer music?

    A: Not overkilling the same old songs, not overkilling the same old techniques like the kvetching clarinet, and not rambling too long on depressing doinas.

    Q: There’s a popular quote: “His fiddle speaks, his fiddle speaks words.” Have you consciously tried to “speak” via your fiddle?

    A: Thats all I do! I communicate with a lot of people on a lot of levels with my fiddle.

    *Messiah

  • The Expression Of The Soul

    During the 18th century, a new religious movement, beginning in Poland, sprang up among the Eastern European Jewish community. The founder of this movement was Israel ben Eliezer, also known as the Ba’al Shem Tov or Master of the Good Name.

    The Expression Of The Soul

    The Ba’al Shem Tov taught that a relationship with God might be sought through music, prayer, and dance.

    Dynastic Movement

    The Hassidic movement was led by dynasties of rabbis, each known to their adherents as “Rebbe,” or teacher. Dynasties were often named after the towns in which they held court. Followers would travel to their Rebbes’ towns for special occasions, such as holidays.

    The Hassidic movement made popular wordless tunes, known as niggunim (singular form: niggun). Some Hassidic courts keep their favored tunes under lock and key, believing these niggunim to hold special powers that would somehow weaken or become corrupt in the hands of those outside of the community. Favored klezmorim were engaged to play at the various rabbinical courts for Jewish holidays, weddings and other happy events.

    Favored Place

    Today, the musical tradition continues to hold a favored place in Hassidic custom and other, more modern genres have been incorporated into the Hassidic music style. Rock and pop are some of the styles that have become a part of the Hassidic musical repertoire. On the other hand, the unaccompanied singing style of the niggun continues to be in demand as sung by individuals and choirs and these express the true roots of Hassidic music.

    During the 1960’s a charismatic Hassidic rebbe named Shlomo Carlebach won the hearts and minds of man

    y Jewish youths at a time when Bob Dylan held sway over the music scene. Carlebach became a very popular musician who added a modern flavor to the traditional Hassidic-style music and to his own compositions. Carlebach performed all over the world, most of the time accompanying his own singing with guitar. Reb Shlomo, as he was known by all, wove anecdotes and stories of a spiritual nature into his tunes. Some called him, “The Singing Rabbi.”

    Carlebach recorded more than 25 record albums and many Jewish houses of worship employing his singing style into prayer services continue to spring up all over the world. These worshipful gatherings are known as Carlebach Minyans or Minyanim. A Minyan is the Hebrew word for a quorum of ten men, the minimum needed to perform communal Jewish prayer services.

  • Early Klezmer History

    The earliest written records about klezmorim (klezmer musicians) and their guilds are from the Middle Ages

    Early Klezmer Historyand date back to 1558 in Prague, and 1654 in Lublin. While women musicians are mentioned in these early documents, they seem to disappear from the klezmer scene, reappearing only in the later years of the 20th century. Before this time, music on the Jewish scene was scarce, owing to the prohibition of listening to instrumental music as a mourning custom relating to the destruction of the Second Temple. By the Middle Ages, however, enough time had elapsed so that, at least in practice, the prohibition was relaxed.

    Family Affair

    Various rabbinic rulings were issued regarding the number of musicians permitted to perform at specific functions, such as weddings. The music profession, like so many other occupations, ran in families. The musicians were not just popular among their own people—Christian nobility and well-to-do merchants sought the services of the klezmorim, as well. Music guilds were formed to set fees, vote on and license members, and to provide benefits.

    In one instance, the Master of Ceremonies for a wedding (badchan) complained that he deserved the monopoly on s

    uch services in this city. The badchan’s duties were all-encompassing including such wedding services as improvising songs and poems relating to the new couple, their guests, and their presents; performing on the violin; acting as a bandleader; joke telling; serving up impersonations; and in general, entertaining the wedding party during the course of one full week.

    Exclusive Rights

    In this case, a bandleader tried to compete and get work as a badchan. The town council agreed that the badchan should have the exclusive rights to all work of this nature, but the bandleader obtained permission to work as a badchan four years later, beca

    use his act was popular.

    A kind of argot sprang up among the klezmorim which borrowed a great deal from the slang of the underworld. This type klezmer-speak was known as “klezmer loshen” or klezmer tongue.

    In 1805, the Pale of Settlement was established in Czarist Russia as the only areas in which Ashkenazi Jews were permitted to live. 95 years later, some 5.5 million Jews had settled in the Pale. The Pale was comprised of rural towns and the Jews called the smallest towns “shtetl” (singular) and “shtetlach” (plural form). Klezmorim might be based in a certain shtetl, but tended to move about quite a bit to perform at special occasions as well as concerts for local nobility.

    Combined Forces

    Other than the klezmorim, the only other professional musicians in the Pale were the Romany (gypsies) and as a result, the two often combined forces. The influence of either group’s music can be felt on the others’. Thanks to this trading of musical influences, many of the klezmer tunes of Hungary survived into the 20th century, though the Jews of Hungary, including the klezmorim,

    had perished.

    By the 19th century, klezmer instruments included the violin, tsimbl (hammered dulcimer), flute, cello or bass, and plectrum instruments such as small drums or mandolin. The violin came to overtake the tsimbl as the lead instrument and a style was developed in which the violin would mimic human speech.

    After this time, brass and big sound percussion instruments were introduced and clarinet started to edge out the violin because of its resemblance to the human voice and its clarity on records. Some of these modern klezmer innovations were due to Jews having played in army bands. When these Jewish soldiers were demobilized, they often brought home these instruments and their newfound musical skills.

     

  • Magical Music

    The genre of music known as klezmer, received its name only in the 1970’s when this Jewish soul music enjoyed

    Magical Music

    renewed popularity. The term klezmer was coined from two Hebrew words: “kley” meaning vessel or tool, and, “zemer” meaning tune or song. In Hebrew, the term “kley zemer” refers to musical instruments, but during the mid 17th century, a musician began to be referred to as a klezmer, and the plural form became “klezmorim.” Only during the resurgence in popularity of this music in the 20th century did the term come to connote a certain musical style.

    Celebratory Music

    Klezmer is the sound of the celebratory music the Eastern European, Yiddish-speaking Jews played at their special occasions, such as weddings. An overview of Jewish history and in particular, Eastern European Jewish history is therefore essentia

    l to understanding klezmer music.

    Levite Tribe

    As far back as biblical times, music was interwoven into Jewish religious practices. The Levite tribe was responsible for providing music during services held at the Temple. It was believed that music had the magical power to heal the soul and psyche, elevate the spirit, and create miracles. The bible makes mention of several types of musical instruments and the psalms contains certain musical notations, though the texts fall short of giving us an idea of the sound of the music which was played in the Temple.

    The destruction of the First Temple led to the exile of the Jews from Jerusalem to Babylon, today’s Iraq. Once the exile ended, many Jews decided to stay on while some moved toward the north and into Central Asia. Those who returned to Jerusalem rebuilt the temple which was again destroyed in 70 CE by the Romans. This caused the general dispersion of the Jews, known as the Diaspora. The Jews settled throughout Europe and North Africa.

    The Diaspora is a crucial event for the history of klezmer because the tragic event that was the destruction of the Temple led to certain Jewish musical traditions. The Jews were instructed not to listen to instrumental music so as to express their mourning for the Temple. Such mourning could only end once the Messiah arrives and the Temple is rebuilt. To this day, many religious Jews living in Jerusalem have the custom of not listening to instrumental music while in the holy city, though many hold weddings outside of Jerusalem where the custom permits instrumental music.

    Unaccompanied Singing

    It is due to this prohibition that Orthodox services permit only unaccompanied singing. The high status of the Levites as Temple musicians evolved into something more symbolic. Secular music came to be thought of as representing the decadence of Greek culture that surrounded the Jews in the Diaspora.

    Jumping ahead, by the 9th century, many Jews had settled in Eastern Germany, called Ashkenaz. From there, the Jews moved further east into what is now Poland and beyond. From this time, the Jews connected to this migration as well as their descendants came to be called Ashkenazim, spoke the combination of medieval German, Hebrew, and Slavic known as Yiddish which is written with Hebrew characters, and kept Ashkenazi-specific religious customs and observances, and it was out of this culture that klezmer music found its roots.

  • The Safed Klezmer Festival

    If you love hearing beautiful music and getting to enjoy it for free, then the Safed Klezmer Festival might by right up your alley. And “alley” is definitely the right word when this festival takes place each year in Safed. Safed is an ancient and glorious city in the Northern part of Israel which hosts a music festival every summer for three days. People flock from near and far to enjoy the Klezmer music that can be heard through the night, and also to enjoy the venders, the other musical guests and so much more.

    An Overview of the Festival

    The Safed Klezmer Festival

     

    The Safed Klezmer Festival takes place for three days each summer, usually in August. It starts around 7 or 8 pm each night with musicians playing in many of the courtyards, amphitheaters and alleys of Safed. All night long, both individuals and groups take their turns on the many different stages, courtyards and other areas entertaining the many guests. There are a few indoor music sites which require tickets, but the majority of the fun is to be had for free.

    Tips During the Festival

    If you’re interested in joining in this amazing experience, you’ll want to book a room early. There are many bed and breakfast locations scattered about Safed and a few hotels. Make sure to reserve your spot before they all book up and before they raise their rates as the festival approaches! If you plan to drive into town during the festival, arrive early in the day. After 3:00pm the entrance to Safed is usually closed to private vehicles and you’ll then have to park in a lot outside of town and take a bus shuttle service.

    Interesting Details about the Festival

    The Safed Klezmer Festival is run by the Safed Foundation. They organize the musicians and find the acts and entertainment for the festival. While the festival is called the Safed Klezmer Festival, there are also a number of musicians playing different types of genres. This makes for an interesting mix of musical choices throughout the night. In 2004, the Safed Deputy Mayor Reuven Sadeh actually invited former President Bill Clinton to appear with his saxophone at the Klezmer music festival. Ma’ariv reported that President Clinton did not take him up on the offer, but that it was extended with sincerity! In 2008, the line-up included such musical groups as Simply Tsf

    at, Maxim Klezmer, Hanan Rosenzweig, Flicks Klezmer and Klezmer Tish.

    Festival Criticism

    The Safed Klezmer Festival has received some criticism for being deemed not authentic enough. Some people have argued that the musicians come from Hassidic, rock and other influences more than they do from Klezmer backgrounds. There is certainly a lot of debate about exactly what falls into the realm of “klezmer” and festival organizers have answered this criticism each year by inviting both traditional klezmer musicians and more contemporary Israeli ones.

    Any way that you look at it, this is certainly a festival that is not to be missed. The Safed Kelzmer Festival offers something for everyone and guarantees an enjoyable, free experience for the taking!

  • A Brief History of Klezmer

    The word “klezmer” comes from two Hebrew words that refer to musical instruments. Over time, they have come to signify the musicians and the type of music that these musicians play. It now refers to the musical genre that is a type of secular Jewish music with roots dating back as far as the 16th century.

    A History of Klezmer Music

    Yiddish Theater and Beyond

    In the 1870’s, a man named Abraham Goldfaden founded the first Yiddish theater in Romania. The Yiddish theater popularized Jewish music and had a large influence on the Jews of the time. Klezmer was popular at this time in Europe as an expression of Jewish culture. When the first recording technologies were invented in the first decade of the 20th century, klezmer music was recorded and made available to the masses. This early recorded material has been a major source for the current revival of this type of music. K

    lezmer instruments during this time consisted mostly of violin, cimbalom and bass. At the end of the 19th century, the clarinet, brass instruments and drums became part of many of these ensembles.

    The Downturn for Klezmer

    After the large immigration of Jews to the United States from 1880-1920, klezmer started to lose favor with these European Jews. While they had enjoyed this music and had heard it at their bar mitzvahs, weddings, and other affairs, they now wanted to assimilate. This desire for mainstream American culture, combined with the decimation of Jewish people and culture during the Holocaust, rendered klezmer music almost obsolete.

    The Upturn for Klezmer

     

    In the 1970’s, klezmer started to find a revival as an extension of the folk music revival that was popular at the time. One band, called The Klezmorim, brought new energy and interest to the world of klezmer music. They toured Europe, played at Carnegie Hall and exposed the new generation of Jews to this traditional Jewish music. With this revival, people become interested in klezmer music again and started to search for old examples to emulate.

    Klezmer Today

    Today, Klezmer is a very popular type of music with people in both America and Israel requesting it for the family events, Jewish get-togethers and more. Each summer in Israel there is a three day Klezmer festival in Safed, where some of the best Klezmer bands in the world come to entertain and to enjoy playing their music. Klezmer has found its revival today and will, undoubtedly, be here to stay for quite awhile.

     

  • Simply Great with Simply Tsfat

    There are many great bands and individual musicians who play klezmer music each year at the Safed Klezmer Festival. One of these well known bands is called “Simply Tsfat” and their music attracts people from all walks of life and of all ages.

    Simply Tsfat at the Tsfat Klezmer Festival

     

    Who Is Simply Tsfat?

    Simply Tsfat is a band that includes three Breslev Chassids. Two of them are Americans and one is Israeli. Their instruments include only two guitars and one violin, and with this they make powerful and exciting Jewish music. They live in Tsfat and desire, through their music, to bring the joy of Breslev Chassidim to their listeners.

    Where Have They Played?

    Simply Tsfat has not only played in Israel and at the Tsfat Klezmer Festival. Their influence reaches far beyond the confines of Tsfat. They are booked throughout the year all over North America and other locales, bringing their music and their message to both Jewish groups and to non-Jewish groups who enjoy their sound. They’ve played in New York, Philadelphia, Montreal, Miami, San Diego, Portland, Canada, Guatemala and Costa Rica. They’ve entertained Jewish inmates in prison, people on skid row in Los Angles, soldiers in the Golan, and Conservative congregations. They even played for 4000 people at an Israel 2000 event at the Greek Theater in L.A.!

    Who Have They Touched

    Simply Tsfat’s music is full of vibe and energy. Anyone can enjoy their sounds and their enthusiasm. While they certainly look the part as Breslav Chassids, they are able to touch people of all denominations and ages with their music. They play at weddings, annual dinners, day school events, nursing homes, synagogues and more. They entertain tour groups, soldiers, Hillel students, and other interested groups. Many people come to the Tsfat Klezmer Festival hoping to hear and enjoy Simply Tsfat.

    The Tsfat Klezmer Festival Has It All

    This is but one of the many interesting groups that come to play at the Tsfat Klezmer Festival. You never know who you’ll see at the festival, or what message they will have to convey about Jewish heritage and history. The festival brings out the best in its musicians, and offers people a glimpse at the powerful music and presence of musicians like Simply Tsfat.

  • Klezmer 101

    Klezmer music has been around for ages. It has been dormant to most people, however, until making a come-back recently. What is Klezmer music and why has it begun to experience a rival in recent years?

    What is Klezmer Music?

    Klezmer Music 101

     

    Klezmer actually means “musician” in Yiddish. It has come, however, to characterize the style of music played by Ashkenazi Jews for celebration and cultural expression. This type of music actually tries to replicate the human voice, sounding a bit like crying, laughing or wailing. It almost always features a violinist, who is able to make these specific sounds. A klezmer band usually also includes a fiddle, a bass or cell, a clarinet and a drum. Sometimes, there will also be hammered dulcimers and an accordion.

    Other Sounds It Incorporates

    Klezmer draws on centuries of old Jewish traditions, but it also incorporates other sounds. It uses music from European and international traditions such as Roma or Gypsy music, Easter European folk music, French Café music and early jazz.

    Let’s Dance!

    Klezmer music invites – and even begs – people to dance. Most of the dances that people do with klezmer music are set dances. They are similar, in this way, to the Anglo square dance or the contra dance. Klezmer music also has traditional waltzes and polkas. Recently, people have been doing tangos with klezmer music as well.

    Why Has Klezmer Revived?

    Klezmer music has its roots in the old Jewish villages or shtetls of Eastern Europe long before the Holocaust. It was originally meant to imitate the voice of the cantor in the synagogue. Klezmer played a large part in the culture and celebrations of Eastern European Jewry. When the Jews of Eastern Europe immigrated to North America, they brought their klezmer music with them. How

    ever, as happens with so many cultural things, people wanted to acclimate to their new surroundings and blend in. They moved away from traditional Jewish music in order to blend into American society. Then in Europe, the remaining Klezmer bands vanished with the Holocaust. Just in the last 30 years or so, klezmer music has enjoyed a revival. Bands have begun popping up who have revived what their ancestors were playing, and more people have been requesting klezmer bands for their functions and celebrations. This new form of klezmer music has been influenced by Israeli music and culture and now creates an interesting blend of old Jewish history and the modern day people.

    Klezmer’s Significance

    The revival of klezmer music is a very exciting phenomenon for Jewish historians and for Jewish people. It shows that the younger generation is seeking information about their heritage and is reviving some of the culture that was abandoned long ago.