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The Klezmer Revival

Christian Dawid - Berlin-based, world-renowned klezmer clarinet player - talks about the risks and benefits of cultural revivals, and why the Klezmer revival was such a success.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Klezmer Banjo

Henry Sapoznik - musician, scholar, and KlezKamp founder - describes starting to play klezmer music after having learned old-time banjo. He recounts discovering klezmer recordings that included banjos.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

The British Klezmer Scene

Merlin Shepherd, klezmer musician and instructor, talks about the revival of interest in klezmer music in the United Kingdom, especially among secular and unaffiliated Jews seeking a connection to their cultural heritage.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Being a Non-Jew in the Klezmer World

Christian Dawid - Berlin-based, world-renowned klezmer clarinet player - discusses what it is like to be a non-Jew in the klezmer world.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

"Re-actualization" in Contemporary Klezmer

Pavel Lion aka Psoy Korolenko, singer-songwriter, appreciates the modern klezmer scene for its resistance to nostalgia and its emphasis on progressing as a genre.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Pete Rushefsky's Journey to Klezmer

Pete Rushefsky, executive director of the Center for Traditional Music & Dance, explains how he ended up playing Klezmer on the tsimbl (cimbalom, a type of hammered dulcimer).

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Klezmer Music is Both Close and Far

Christian Dawid - Berlin-based, world-renowned klezmer clarinet player - explains how Klezmer music seems both very close and comfortable to him because of his Central European German background, and yet also very different.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Learning Yiddish to Go Deeper Into and Beyond Klezmer

Henri Oppenheim, klezmer musician based in Montreal, talks about the role of Yiddish culture in the contemporary klezmer music scene. He felt he had to investigate and learn Yiddish to better understand and appreciate the music.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Seeing the Light: Seth Rogovoy on Getting into Klezmer

Seth Rogovoy, culture critic, writer, and historian, describes The Klezmatics concert that turned him on to klezmer music.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

“Everything Started from That”: Finding Connection Between Rock and Klezmer as Introduction to Jewish Music

Michał Moniuszko, a musician and teacher, remembers his first impressions of klezmer music as a young Polish rock musician.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

קלעזמער

דרוקער, אירמע

Klezmer

Druḳer, Irme, 1906-1982

Mosḳṿe : Soṿeṭsḳi Pisaṭel, 1976

Part of Yiddish Book Center's Spielberg Digital Yiddish Library

Exploring the Relationship Between Liturgical Music and Klezmer

Benjamin Fox-Rosen, klezmer musician, speaks to the relationship between Jewish liturgical music and Eastern European Jewish music, and the ways in which secular composers tend to influence liturgical music in both Christian and Jewish reform traditi...

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

"It's Not Hip To Be Authentically Jewish": Klezmer Trends and Fusion

Peter Sokolow, a full-time professional musician active in Klezmer revival, discusses his disappointment at what he perceives to be a lack of authenticity among the new wave of Klezmer music, citing the depth and intensity of the genre which has been...

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

My Best Teachers were Recordings: Discovering Klezmer and Finding My Sound

Merlin Shepherd, klezmer musician and instructor, recalls his introduction to klezmer music off of a Naftule Brandwein recording.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

"It Was More Like a Resuscitation": Lorin Sklamberg's Thoughts on Klezmer Revival

Lorin Sklamberg, lead singer for The Klezmatics and YIVO sound archivist, discusses his role in Klezmer revival and his sadness that the line of musical transmission from one generation to another was broken.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

'It's Some Kind of Tikkun Olam (Healing of the World)': Resolving a Klezmer Controversy

Jeff Warschauer talks about Europeans' interest in klezmer music and playing in Krakow. He describes a Holocaust survivor's outrage that he would play klezmer music in a country where so many Jews were murdered.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Klezmer

Amanda Lundquist, student and oral history intern, talks about her love for Klezmer music.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

The Intergenerational Connections of Klezmer

Musician Michael Winograd describes the way Klezmer music brings together people of different ages, and connects the generations.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

Klezmer Did Not Exist In a Vacuum

Benjy Fox-Rosen discusses how Klezmer varied from region to to region and was influenced by the music of surrounding cultures.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts

From Math to Klezmer Music

Henri Oppenheim, klezmer musician based in Montreal, talks about he first got interested in Jewish music, and how moving from Paris to Montreal influenced his career.

Part of Yiddish Book Center's Wexler Oral History Project Excerpts