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Bivolita Klezmer | Bivolita Bessarabian Chamber Klezmer: Live At USNH

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World: Klezmer Classical: Chamber Music Moods: Type: Live Recordings
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Bivolita Bessarabian Chamber Klezmer: Live At USNH

by Bivolita Klezmer

Bessarabian Chamber Klezmer: traditional European klezmer with a modern, improvisational chamber music approach.
Genre: World: Klezmer
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  Song Share Time Download
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1. Lemish Shers (Live)
5:10 $0.99
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2. A Volich (Live)
3:48 $0.99
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3. Tango: Sertse (Live)
3:51 $0.99
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4. Belf Khosidls (Live)
6:20 $0.99
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5. Khevre Nit Gezorgt (Live)
3:47 $0.99
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6. Hora De La Hanesti (Live)
4:41 $0.99
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7. Turetskaya (Live)
4:17 $0.99
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8. Fonya's Yiddish Dance Suite (Live)
6:06 $0.99
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9. Tosca Waltz (Live)
2:59 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The wedding day in an Eastern European shtetl began when the klezmorim rose at dawn to parade slowly through the streets of the village playing a “dobriden,” or “good morning” melody. The ritual continued with the “seating” of the bride with her female relatives, who wept at the separation of the young girl from her family—egged on by the Badkhin jester who mocked the groom and his prospects for success in the world—to the accompaniment of a plaintive violin. After the bride was veiled and paraded to the Khupah, the music switched to freylekh, happy dance melodies interspersed with virtuoso “Mazeltov” pieces composed and performed for honored guests, shers, redls, and volachs. The party might continue for several days if the wealth of the Mekhutunim (inlaws) permitted, and they would be escorted home each evening with Dobranacht (good night) pieces in slow threes.

These customs, and the specific music that went with them, had already begun to fall away as Jewish emigrants arrived in the new world. The hustle of city life and changing mores saw the wedding reduced to a single day and stripped of the complex social and ritual significance that linked the joining of a couple and a family to the larger spiritual health of the village. The American klezmer that emerged through the 20th century emphasized the core dance genres—freylech, sher, and most importantly the “bulgar.” Of the ritual melodies, only the doina remained, now used primarily as a brief interlude or introduction between dance sets.

Bivolița draws its repertoire from the early, European sources of Jewish instrumental wedding music but finds contemporary interpretations that draw on the diverse musical experiences of its members. We are grounded in a democratic, chamber music approach to performance rather than reproducing the rigid, hierarchical performance structure of the soloist “klezmer” and his orchestra of unnamed klezmorim. And in exploring previously unrecorded manuscript sources, we find the freedom to develop arrangements that at one moment might emphasize a grounding in the German baroque, but suddenly shift into a free-form study of 20th century harmony. Our dance melodies move between the drive of an Appalachian hoedown and the stately exuberance of a renaissance dance.

Assembled through many years of travel and research, the program includes suites that link nearly forgotten ritual melodies—the dobridens, Mazeltovs, skotchnes, and volichs—with more commonly known American klezmer repertoire and co-territorial Moldavian dance music. But the program is not simply a reproduction of a wedding cycle. Instead, we use the traditional context as a springboard to new, spontaneous interpretation, and a deep appreciation of the core dance rhythms as a foundation for elaboration and improvisation within the forms.

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