The Diaspora of Klez
Just as the Jewish religion saw emergences of the Reform and Conservative traditions, as did Klezmer as it entered its fourth generation of musicians.
"First generation: Musicians ho were old-word born and trained and came to America near the turn of the 20th century
Second generation: American Musicians who learned their music in the 20's-50's from older European players.
Third generation: Musicians who began playing and recording klezmer music in the 1970's (THE REVIVAL)
Fourth generation: Musicians who in the 80's-90's began playing after exposure to third generation bands
Its these fourth generation players that divided with the differening schools of thought on the Jewish religion. The "Orthodox" bands; Kapelye, Klezmer Conservatory Band, The Klezmorim, and Andy Stantman approached Klezmer from a historic standpoint. They looked to "revive" the genre and keep its roots completely intact in performance practice.
The newer band "Klezmorim initiated 'reform' by de-emphasizing klezmer as Jewish music and by introducing ahistorical frantic tempos and faux cultural history as part of their stage show. They also made costumes key to their performance." (Sapoznik 248). Klezmorim is noted by many musicologists as the band that started the Revival.
"First generation: Musicians ho were old-word born and trained and came to America near the turn of the 20th century
Second generation: American Musicians who learned their music in the 20's-50's from older European players.
Third generation: Musicians who began playing and recording klezmer music in the 1970's (THE REVIVAL)
Fourth generation: Musicians who in the 80's-90's began playing after exposure to third generation bands
Its these fourth generation players that divided with the differening schools of thought on the Jewish religion. The "Orthodox" bands; Kapelye, Klezmer Conservatory Band, The Klezmorim, and Andy Stantman approached Klezmer from a historic standpoint. They looked to "revive" the genre and keep its roots completely intact in performance practice.
The newer band "Klezmorim initiated 'reform' by de-emphasizing klezmer as Jewish music and by introducing ahistorical frantic tempos and faux cultural history as part of their stage show. They also made costumes key to their performance." (Sapoznik 248). Klezmorim is noted by many musicologists as the band that started the Revival.
Some other notable Reform klezmer bands include Brave Old World, Klezmatics, Les Miserables Brass Band, Hasidic New Wave, and Nigunim
The revival most likely hit its peak (and end) when the classical world took note. in the early 90's. It is odd to think that most of todays serious Klezmer musicians are classically trained while the art form started off in the houses of the poor in Eastern Europe. Some of the most famous classically trained musicians to come out of this era were Alicia Svigals, Deborah Strauss, Mimi Rabson, Steve Greenman, David Krakauer, Ken Matz, Merlin Shepherd, and Margot Leverett.
In 1995 a PBS special entitled "In The Fiddler's House", featuring Itzhak Pearlman, opened up the flood gates for the Klezmer Revival. The TV special was released with a later album by the same title in 1998 that sold more copies than than all Klezmer albums before it combined (over 250,000).