The influence of klezmer on twentieth-century solo and chamber concert music for clarinet: with three recitals of selected works of Manevich, Debussy, Horovitz, Milhaud, Martino, Mozart and others.

The secular music of the Eastern European Jews is known today as klezmer. Klezmer was the traditional instrumental celebratory music of Yiddish-speaking Ashkenazi Jews who eventually populated the Pale of Settlement, which encompassed modern-day Poland, Lithuania, Ukraine, Belarus and Romania. Due to the rise of oppression and expulsion, many klezmer musicians or klezmorim immigrated to the United States between 1880 and the early 1920s. These musicians found work in klezmer bands and orchestras as well as Yiddish radio and theater. Some of the most influential klezmorim were clarinetists Naftule Brandwein and Dave Tarras who helped develop an American klezmer style. While the American style flourished, the popularity of pure klezmer began to diminish. As American-born Jews began to prefer the new sounds of big band and jazz, klezmer was considered old-fashioned and was in danger of becoming a lost art form. During the early 1970s, a reawakening study of klezmer developed. Henry Sapoznik, Lev Liberman and Andy Statman were instrumental in creating a klezmer revival in the United States. At the same time, Argentinean-born Israeli clarinetist Giora Feidman was popularizing klezmer in Europe. Klezmer had again become popular and the revival's impact on the concert hall was inevitable. Even though klezmer has existed for centuries, composers have only recently included klezmer elements in their concert works. Characteristic modes (Freygish and Misheberakh), forms (freylekhs and doinas), instrumentation, and rhythms all contribute to create a unique style. Three musical works for clarinet are examined in the dissertation: Simeon Bellison's Four Hebrew Melodies in form of a suite, Simon Sargon's KlezMuzik and David Schiff's Divertimento from Gimpel the Fool. Although the compositions reveal different approaches to the elements, the klezmer influence is evident in each of them. An appendix of clarinet klezmer influenced concert works is included.

Grantor dc:publisher

University of North Texas

Year dc:date

2002

Author dc:creator

• Card, Patricia Pierce

Contributors dc:contributor

• Scott, John C. (John Charles), 1947-
• Gillespie, James
• Dworak, Paul E., 1951-

• Clarinet and piano music -- History and criticism.
• Klezmer music -- History and criticism.
• Music -- 20th century -- History and criticism.
• klezmer
• clarinet
• Tarras
• David Schiff
• freygish

Statement dc:rights

• Public
• Copyright
• Card, Patricia Pierce
• Copyright is held by the author, unless otherwise noted. All rights reserved.

Language dc:language

English

Identifier

oclc: 52229991
https://digital.library.unt.edu/ark:/67531/metadc3355/
ark: ark:/67531/metadc3355

OAI identifier oai:identifier

info:ark/67531/metadc3355