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Celebrating
our
26th year!
Even more than the first
book, Jewish Instrumental Folk
Music will be a valuable aid to
would-be klezmorim, devoted
as it is specifically to Old
World klezmer (and including
a CD filled with musical
examples).
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A Klezmer Archive
Slobin is emphatic when he
describes Beregovski's impor-
tance.
"Beregovski was an amazing
person," he says. "He was
working in an intensely anti-
religious atmosphere when he
put this stuff together. At his
institute, he created a real
The Klezmatics perform Oct. 13 at Orchestra Hall.
archive of Eastern European
Jewish music in the proper
style — a thousand wax cylin-
ethnomusicologists do, you see."
der [recordings], a detailed file-card
Slobin's next book takes the work of
index. He was the only person to do
Fiddler a step further. American
this for Yiddish music, and he was an
Klezmer (University of California
excellent ethnomusicologist."
Press) is a collection of papers and
The record of Yiddish folk music
essays that had its beginnings in the
from the oral tradition is, Slobin says,
first-ever Klezmer Research
"minuscule." And Beregovski's contri-
Conference, held on Slobin's own
bution, which is monumental in its
Wesleyan
campus in 1996.
scope, was almost lost as well.
Unlike
some
naysayers, Slobin is opti-
"It was believed that the archives
mistic about the future of klezmer music.
were destroyed during the Second
"It's a trend, a fashion statement
World War," Slobin says, "but they
about
Judaism," he says. "For some,
were discovered in a Kiev library in
it's
an
easy way to affiliate without the
the mid-1990s." Which is about the
need
to
do anything different in life."
time that klezmer was reasserting itself
Indeed,
many adults searching for
as a living music, much to the surprise
some sort of Jewish affiliation find it
of students of ethnomusicology and
in klezmer music.
music history.
"We may never see a breakthrough
"I couldn't understand what was
figure
who can create a major
going on," Slobin admits. "Here is a
crossover
audience for the music [the
music without a homeland, reinvented
way Bob Marley did for reggae]," he
and revitalized by people who have had
cautions. "That's unpredictable. But
no contact with its origins, re-exported
the success of Perlman's klezmer
to home as an American music."
recording was something that couldn't
have been predicted either." ❑
Optimistic Future
Slobin's fascination with the unique sys-
tem of transmission that enabled klezmer
to revive itself led to his most recent
book, Fiddler on the Move (Oxford
University Press), a brief but informa-
tion-packed study of the phenomena.
"I wanted to consider klezmer as an
urge — what makes people want to do
this," he asked himself. "I wanted to
see how it works in community life,
not just as a commodity, a product.
And I wanted to examine the music
itself. You can hear or see how it
embodies certain principles, that it's
not just sounds but represents cultural
and social actions."
He adds with a grin, "That's what
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