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PG AMTC7 – CW1 [D] Rationale

Klezmer Arrangement for Wind Band Turkische: Yalle Vey Uve (Naftule Brandwein – King of Klezmer Clarinet)

Notes on the Arrangement The Tune This arrangement has come into being following a recent discovery I made of the wonderful Jewish Folk music known as Klezmer.1 Already an avid fan of various genres of Eastern European folk I was immediately captivated by this mesmerising music with its paradoxical combination of simplicity and mystery. Klezmer, as well as being great party music - fantastic to dance to - has delicate and expressive qualities and possesses the unique property of being able to “simultaneously laugh and cry”.2 The tune I have chosen to arrange is a Turkische (one of the klezmer dance forms popularised in New York during the 1920s) entitled “Yalle Vey Uve”.3 4The tune is traditional but was recorded by klezmer clarinet virtuoso, Naftule Brandwein and his orchestra and can be found on the album King of the Klezmer Klarinet.5 Since I was unable to find a pre-existing transcription of this particular tune I have provided a lead sheet based on my own transcription. The melody is supplied without any ornamentation and with no rhythmic embellishment except approaching cadence points as is traditional in klezmer music. The arrangement itself uses similar rhythmic embellishment and ornamentation to the Brandwein ‘orchestra’ arrangement and this is discussed in more detail below under ‘Ornamentation’.6 The melody is transcribed from Naftule’s recording and the chords are derived from listening to the recording and also through jamming the tune with the SOAS Klezmer Ensemble (SKE).7

1

See Appendix I: ‘A brief introduction to Klezmer and history of the evolution of klezmer music in the 20th century. 2 The “whining-yet-laughing, self-deprecating melodies of the clarinets” (Seth Rogovoy, The Essential Klezmer. (Algonquin Books of Chapel Hill, 2000). Rogovoy also describes klezmer as “Yiddish language in music” or the language of the Neshama (soul). 3

See Appendix II for klezmer modes and rhythms See Appendix V for a glossary of Yiddish terminology. 5 The tune is available here: http://www.klezmershack.com/bands/brandwein/king/brandwein.king.html (last accessed 9/3/11) 6 Brandwein’s ‘orchestra’ consisted of a small brass section and one percussionist with Naftule on solo clarinet. 7 A klezmer band of which I am now a member. Some recordings of our practices in which we discuss arrangement and style are supplied as supplementary files as counterparts to Appendix VI (Listening List). 4

The Text The principal support text used for this arrangement is Peter Sokolow’s Guide to Klezmer Arranging and Orchestration.8 References to this text will be in the form of page numbers or chapters for passages that are too long or inappropriate to quote. The Score The first page of the score provided shows the full instrumentation of the ensemble excepting every percussion instrument (3 players are required). These are shown in boxed text on the score as they enter. The score is transposing. Structure and Detail The structure of Yalle Vey Uve as recorded by Brandwein’s orchestra is quite complex compared to many simpler forms of klezmer dance music.9 The outline of this structure is as follows: A B C B D E A B D E’ where each section is repeated and E’ represents a modified version of the final section with a cadential formula specifically used for ending this type of klezmer dance tune (shown on the lead sheet).10 The modes used in the sections are as follows11: A B C D E

Mishebeyrekh (Altered Dorian on D) Moloch (on D) Mishebeyrekh (Altered Dorian on D) Freygish/Avah Rabbah (Phrygian Dominant on D) Freygish/Avah Rabbah (Phrygian Dominant on D) Instrumentation and Orchestration

Introduction Chapter 3A of Sokolow’s Guide outlines the fundamental stylistic features of klezmer arrangement. Sokolow notes that originally klezmer arrangements would have consisted of “everyone playing the melody all at once, with drone underpinnings”. He proceeds to list some of the pioneering artists of 20th Century klezmer arrangements who brought in new levels of musical sophistication incorporating new instruments, harmonies and counterpoints. I have used the 8

Peter Sokolow, Guide To Klezmer Arranging and Orchestration. Tara Publications (1991, Peter Sokolow). 9 Classic klezmer dance structures include AABB (binary), ABA (ternary) and ABCB always making some sort of triangular shape. This is a result of the music’s derivation from Chassidic prayer melodies whose structures represent a spiritual ascension (to come near to G-d) and descent (coming back down to earth). 10 See Lead Sheet. The cadential figure I use in my arrangement is closely based on Brandwein’s but is not identical to it. 11 See Appendix II for an introduction to the klezmer modes.

guidelines outlined in this chapter as a basis for the ‘style’ of my arrangement. By basis, I mean the building blocks of the arrangement draw heavily on Sokolow’s guidance but these blocks are used to construct my own edifice which presents an interpretation of the klezmer style which is intended to be my own without to any extent subverting the genre. With a wealth of diverse klezmer arrangements to draw on (see Listening List Appendix VI) and a variety of ‘standard’ techniques recorded by Sokolow, the arrangement that I present here values authenticity as a grounds for a post-modern approach. Post-modern meaning here: a contemporarily constructed montage of traditionally accepted devices and idioms. The specifics are discussed in detail in the following sub-sections. Five Functions Since the ‘Klezmer Revival’ which began in the 1960s, the genre has been embraced by a huge variety of different instrumentalists and vocalists from a range of different musical backgrounds.12 This has had the effect of greatly extending the instrumentation of klezmer arrangements beyond the early Kapelyes and Orchestras.13 One of the notable features of the development of klezmer arrangements is what I refer to as their ‘organised chaos’. Solo instruments often share or compete for the principal melodies over raucous accompaniments that push and pull at the tempi challenging them to keep with the beat. Accompanying instruments can also join in with the melody either playing in unison, doubling at the octave, playing parallel motion or harmonising in homorhythmic unison. In most klezmer arrangements, notably those for larger forces, it can often sound incredibly free as though instruments are switching functions almost whimsically but it all takes place with respect to the guidelines of the structure.14 Evidently, when dealing with a large ensemble such as wind band, these effects must be handled with care. The table (Appendix III) at the end of this section charts the functional use of different instruments (or instrumental groups) providing a clear guide to my arrangement. For the purposes of explaining the approach to this arrangement I outline five fundamental functions (of which any number greater than 1 will be in use on the score) and provide a table which outlines the instrumentation with respect to these throughout the score.15 1. Principal Melody Line (Including instruments playing in unison or doubling at the octave). 2. Homorhythmic combinations. (E.g. Parallel motion to the principal melody or homorhythmic harmonisation of the melody in parallel motion or otherwise). This is what Sokolow refers to as “harmony” in chapter 1 of his Guide. 12

See Appendix I. See Appendix V (Glossary of Yiddish terminology). 14 The table in Appendix III provides a detailed blow-by-blow account of my arrangement tracing my application of these stylistic features within the wind band context. 15 To an extent this is simply an elaboration and a summary of Sokolow’s discussions concerning the specifics of approaches to instrumentation, “Combinations” and “harmony and counterpoint” in chapter 1 of his Guide. 13

3. Decorative, melodic ‘fills’ (E.g. decorative runs or arpeggaic features) that occur when the principal melodic line is temporarily at rest. This includes countermelodies to the principal melodic line. This is what Sokolow refers to as “counterpoint” in chapter 1 of his Guide. 4. Principal Accompaniment figure, in this case the Turkische rhythm. This includes homorhythmic accompaniment support i.e. vamping the Turkische rhythm in harmony. 5. Rhythmic ‘fills’ and alternative accompaniment figures (decorative or drones/pedal points) apart from the Turkische rhythm. Melody The most important feature of klezmer music is the melody. Although improvisation is essential to the genre, the melodic patterns must be followed strictly particularly in the dance tunes (after all, people are supposed to dance to them!). As Sokolow recounts, “The main stylistic feature of klezmer music which is of interest to the orchestrator is melodic phrasing and ornamentation. In the opening chapter of his Guide Sokolow lists the instruments which are best suited for taking the melodic lines and playing solos in klezmer arrangements. The list divides the instruments into groups according to their roles in arrangements and Sokolow continues to explain in detail the functional use of these groups and their specific members.16 Since my arrangement is for a large wind ensemble not directly alluded to in Sokolow’s book, I extend his list of winds to include additional instruments such as double reeds which, at the time of Sokolow’s publication had “limited use in klezmer arrangements”.17 Naturally, I have also had to find my own way of using wind-band instruments to fill the roles of standard klezmer instruments from other families that do not feature in this ensemble. This has been helped by listening to more recent klezmer arrangements featuring more expansive instrumentation such as Frank London’s Klezmer Brass All-stars (Listening List, Appendix VI). The table in Appendix III discusses this in more detail.

Ornamentation (Droidlach/Dreydlekh) The ornaments used in Klezmer are intrinsically linked to its origins in cantorial and prayer music and are mainly derived from imitating the human voice, laughing, crying, sighing and wailing (all essential parts of Chassidic prayer). It is no coincidence that the violin and the clarinet have traditionally led klezmer ensembles given their natural ability to imitate these sounds with their trills, portamenti, glissandi, “squeaks” and “chirps” and their capacity for many varieties of vibrato. 18 Different instruments specialise in different types of ornaments but this imitation of the voice is the common thread linking them all. In klezmer collectives, ornamentation is essentially free and left to the discretion of the individual player. As Seth Rogovoy remarks, “The emotional spirit of the soloist is the identifying characteristic of klezmer at its best”.19 16

Sokolow (ch.1, pp.7-9) Sokolow (ch.3, p15) 18 See Appendix IV for a Notation Key explaining the various klezmer ornaments. 19 The Essential Klezmer, Seth Rogovoy 2001… 17

The ornamentation of melodies is thus of optimum importance to klezmer arranging. This presents what is arguably the biggest challenge for the klezmer arranger. How can we write in ornamentation without encroaching on the rights of the performer to bring his/her own interpretation to the melody? Sokolow’s advice on the matter is practical: “Try NOT to over-decorate the part…the orchestrator should be familiar with a few basic ‘licks’ (i.e. clichés) prevalent in melodic phrasing…(these) include mordants, appogiaturas, trills, scalar connecting passages, chirps (for clarinet), glissandos (for trombone or violin etc)”. One ornament not mentioned by Sokolow in this chapter is perhaps the most fundamental klezmer ornament, the krekhts. This ‘sigh’ or ‘sob’ is directly linked to the cantorial, prayer tradition imitating ‘breaks’ in the voice that punctuate Chassidic (Hassidic) religious chants.20 Taking on board Sokolow’s words of wisdom I formulate my own approach to ornamentation in this arrangement. The score presents an ornamented version of the melody with most of the ornamentation written into the melodic lines and traditional symbols used to denote additional decoration. There is a range of possible interpretations for these symbols. In recent years contemporary musicologists and klezmer musicians such as Kurt Björling and Joel Rubin have carried out wonderfully detailed analyses of klezmer ornamentation for specific instruments. Included as a supplementary hard-copy-Appendix (Appendix IX) to this rational is a photocopy of a notation key from a rare transcription of flute doinas made by Björling which I have used as a basis (not a bible) for the specific notation of ornaments such as the krekhts.21 Harmony and Chord Voicings: As explained in Sokolow (ch.3A), klezmer music uses a simple, “proscribed harmonic loshn (language) with no more than 3 voices to most chords except dominant 7ths and the occasional diminished 7th.” In short, to overload the harmonies with 9ths 13ths or chromaticisms, would obscure the effect of the oriental scales used in the melodies and thus utterly subvert the genre. I have therefore adhered to this principal in my arrangement which uses functional, triadic harmony as a basis for the accompaniment. The accompaniment figure is passed around different groups of instruments, predominantly in accordance with Sokolow’s guidelines for instrumentation. Combinations As explained in my Five Functions (above) a common device used in klezmer arrangements is the combination of instruments playing either in unison, doubling at the octave or parallel motion (in 3rds or 6ths). Possibilities for these combinations are discussed in detail in Sokolow’s Guide (ch.1 p8) and, as the table demonstrates, I have taken on board many of his suggestions. My own use of combinations extends Sokolow’s list to incorporate other possibilities within a wind-band context (such as the ‘floboe’) as shown in the table.

20

See Appendix IV. This photocopy is produced by permission of the JMI (Jewish Music Institute) who kindly allowed me to photocopy the pages from Kurt’s book strictly for the purposes of this rational. 21

Rhythm and Tempi The Turkische (see Appendix II) is a dance-form and is thus, unsurprisingly, intended to accompany a dance. It is therefore essential to feel a pulse at all times once the dance begins even if there is a certain level of liberty taken with the tunes (rubato) within the confines of this pulse. I have provided metronome markings to indicate the pulse as well as performance instructions relating to the mood (Tempo instructions), rhythmic character and style. The sections of the dance vary in character (as is reflected in the use of different modes) and I have extended this to include rhythmic juxtapositions such as ‘swung’ versus ‘hooked’ rhythms (both previously explored in 20th Century klezmer arrangements) as shown in the table. I have also mainly used the double-dotted form of the Turkische rhythm for the sake of clear definition within the large ensemble and as a stylistic feature to provide further contrast with the swung sections. Introduction: Doina (Voloch) By way of an introduction in the arrangement, I have included some original composition. This takes the form of a notated Doina which is based on the melodic contours and structure of the tune. This is scored for a solo Clarinet and uses drone accompaniments with some counter melodies. Included with this rationale are recordings of the SKE playing and discussing Doinas (Appendix VIII) and much of my introduction is based on these discussions with some notable differences for practical reasons, such as the metrical notation using time-signatures despite the Doina’s origins as an un-metered tune. The counter-melodies and accompaniments are passed around the ensemble switching registers and responding to the Clarinet line before the Doina gives way to a 4-bar vamp which begins the Turkische. Other Points for Consideration It is important to note that Sokolow’s book was written for klezmer arrangers working with a wide range of musicians from all sorts of different backgrounds, both musical and cultural and as such, he mentions the necessity of a score’s “flexibility” (see Sokolow, Foreword) based on the genre’s history of collaborative efforts from different groups and ensembles, music-readers and non-music-readers alike. The arrangement of Yalle Vey Uve presented here is intended for an advanced level wind band (amateur or professional) and it is assumed that all the players in such an ensemble will be able to read music. I note also that I have chosen to use French Horns (in F) in lieu of Tenor Horns. The aim for this arrangement is that the score be interpreted by the band’s conductor following the instructions given on the score as closely as possible. Table The table in Appendix III charts the instrumentation of the arrangement section by section with accompanying explanations of the choices made. Much of the Instrumentation and Orchestration, Harmony and Counterpoint draw on Peter Sokolow’s Guide. It is important to note that Sokolow’s Guide does not include specific arrangements for an ensemble as large as the wind band I have used and where I deviate from or elaborate on his suggestions I provide my reasons for so doing.

Outcomes This arrangement has been an educational experience for me as both an arranger and a composer. As a first study string player, I have had little experience writing for wind ensembles and prior to this project I had never even contemplated writing for forces of this magnitude. Much of my research apart from the research into Klezmer music and its arrangement/orchestration has been into writing for wind and brass and I have pooled many resources in order to learn a lot in a short space of time. Alfred Blatter’s book, Instrumentation and Orchestration has been a valuable reference point for wind and brass writing but my main source of learning has been from primary sources talking to wind and brass players themselves and I’ve even been lucky enough to have bits of my score tried out by players among my friends and family. This project has also deepened my own experience of music making. Early this year I joined the SOAS Klezmer Ensemble (SKE) and now play with them regularly. The tune I chose to arrange was one that we played together in my second ever session playing with them and since then, I have been involved in playing the fidl (violin) on our own arrangements of it.22 Evaluation Embarking on this project I was aware that there was to be little guidance on the specifics of wind band klezmer arranging (the Klezmer Karnival by Philip Sparke (see Listening List Appendix VI) is the only exception). The ensemble uses many instruments which are unfamiliar to the klezmer genre. In this respect, the work is original and has required some purely compositional decisions to be made. With the plethora of interpretations of klezmer music - particularly from the latter half of the 20th century – to draw on, it occurred to me that it would be possible to stick to ‘things that had been done before’ without maintaining any true sense of authenticity. It was essential to listen to many recordings to gain knowledge and ideas for the instrumentation and orchestration side of the arrangement but I made sure to listen to as much of the early recordings as possible and for my arrangement I treated Naftule Brandwein’s version of the tune as the primary interpretation deviating from it only where strictly necessary within the logic of the context (noting, of course, that Brandwein himself was already deviating from the earlier traditional eastern European way of playing – after all he played the clarinet not the violin). In this respect I hope to have maintained a level of authenticity as well as presenting an exciting arrangement that utilises the broad palette of wind-band colours and textures. So is my arrangement a success? Ultimately, the tune is meant to be danced to (or at least listened to with a dance in mind) so if you can imagine dancing to it and having a good time at a party when listening to it then in my eyes its succeeded on a fundamental level.

22

One version of our arrangement of the tune can be heard on this podcast from SOAS Radio: http://soasradio.org/content/listen-local-episode-2-soas-klezmerensemble (last accessed 9/3/11)

Appendix I A Brief Introduction to Klezmer and its evolution through the 20th Century

The term klezmer is a Yiddish contraction of two Hebrew words: kley, meaning vessel, and zemer, meaning song. Thus combined, klezmer came to mean instrument or musician, as in “vessel of song” and was first used to describe the itinerant folk musicians of Eastern Europe. It is not clear at what point the word came to signify a musical style or genre but one of the first instances of its use to describe repertoire came in the 1930s from the pen of the Soviet-Jewish ethnomusicologist Moshe Beregovski who applied the term to the music played by the klezmorim (a collective noun (plural) for Jewish folk musicians). Even so, the word did not really become commonplace until the American revival period of the late 1970s. Prior to this one simply referred to “playing Jewish” or “playing the bulgars”, a reference to a popular Jewish dance genre.23

Since the 1970s – the beginning of a movement known as the “Klezmer Revival” - the genre has grown exponentially in popularity and is now played in various forms (fusion and traditional) by a wide range of musicians of diverse cultural backgrounds. The mysterious secret of its newfound success lies in the unique stylistic features, notably the ornamentation derived from a historic connection with the Hasidic nigunim, wordless prayer melodies chanted to induce states of transcendent consciousness. This ornamentation comes from the vocal tradition of khazones, where notes are bent and moulded according to vocal inflections allowing the music to “sing”, “laugh” or “cry” or sometimes all three at once. Summarised in five words, klezmer is just this, laughter and crying in music.

Klezmer Ensembles Originally, klezmer music was played by small groups called Kapelyes. Violinists who would often also assume managerial and directorial roles invariably led these groups: organising gigs, sorting out finances and conducting rehearsals. The 23

Mark Slobin. American Klezmer: Its Roots and Offshoots (University of California Press, 2002) Seth Rogovoy: The Essential Klezmer: A /music Lover’s Guide to Jewish Roots and Soul Music, from the Old World to the Jazz Age to the Downtown Avant-Garde. (Algonquin Books of Chapel Hill, 2000)

precise, instrumental line-up of these ensembles depended on where in Eastern Europe they came from but would generally consist of a bass instrument - either contrabass or the Polish, three-stringed folk cello – a rhythm section – often a role fulfilled by a second violinist or a viola with no chin-rest held against the body known as a “bratch”. One notable development of the 19th century Kapelye-based klezmer music in the early 20th century was the dominance of the clarinet in klezmer ensembles. Two pioneers (and renown klezmer heroes) of the Klezmer Klarinet were the Podolian Dave Tarras (Dovid Tarraschuk) and the Galician Naftule Brandwein who are often regarded as rivals and polar opposites in terms of style.24 Brandwein played for a time in Abe Schwartz's ensemble, notably on popular songs like Brandwein's own "Firn Di Mekhutonim Aheym" (Leading the In-Laws Home).25 They also performed Schwartz's famous number "Di Grine Kuzine" (The Greenhorn Cousin), still played today by klezmer revivalists.26 During the course of the twentieth Century, Klezmer music evolved alongside many other forms of popular music and consequently the instrumentation expanded dramatically. The plethora of popular musical styles all developing together in twentieth century America meant that different styles and genres had to nurture instantly recognisable identities and the klezmer the repertoire was naturally streamlined according to popular demand. The expression “playing the bulgars” is a clear indication of this fact. The bulgar is just one of many dance forms in the original klezmer canon and the dance forms in turn are just one of the sub-genres within the repertoire.

24

Old-world regions of Eastern Europe, Podolia was a region in the heart of the modern-day Ukraine, Galicia bordered Poland and the Ukraine. 25 Abe Schwartz (1881-1963) was a well-known klezmer musician of the 1920s. Abe was born outside of Bucharest, Romania, and moved to the United States in 1899. He soon distinguished himself as a talented arranger and composer of music, as well as a violinist, pianist, and bandleader. 26 Strom, Yale. The Book of Klezmer: The History, The Music, The Folklore 1st ed. p.157

Appendix II Klezmer Modes & Rhythms Klezmer, like many musical genres, is based on rigorous, highly stylised forms with rules regarding tempo, rhythm, metre and mode and the sequential use of scales within songs which lie at the music’s structural core. Some of the most recognisable characteristics of klezmer music are the modes used in addition to the standard major and minor scales. Some of the modes are original scales peculiar to klezmer music and others are klezmer variations of existing modes and scales. Details of the klezmer modes and scales can be found here: http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_sca les.html (last accessed 9/3/11) The modes used in Yalle Vey Uve can all be found on this page. Note that the D Moloch scale used in the tune is a simpler form of the Hashem Moloch shown on this page and does not contain a G-sharp in the descending version. The D Moloch used is simply what Western Music calls D-Mixolydian.

Dance Rhythms and the Turkische The ‘dance-tunes’ comprised much of the surviving klezmer repertoire that was popularised in 20th century America. The name Turkische alludes to one particular subgenre in this category. The Turkische Rhythms can be viewed here: http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_rh ythms_1.html (last accessed 9/3/11) Note that on the web page the spelling of Turkische is different to this rationale. The Germanic Terkisher replaces the Yiddish version (Turkische) that I have used throughout this document. This is because Naftule Brandwein spoke Yiddish and this was his spelling of the word. The Rhythm is omnipresent as an accompaniment throughout the whole arrangement. This is the same as in the original recording by Naftule Brandwein where the rhythm is ‘vamped’ throughout.

Appendix III Table The sections of the arrangement are labelled with letters in alphabetical order with subscript numbers used to denote repeats and recapitulations. For example, A1 denotes the A section the first time it is heard with A2 denoting the immediate repeat. For the recapitulation which begins with a restatement of the A section A21 is used with A22 denoting the subsequent repeat. For clarity, I include the corresponding rehearsal figure used in the score in brackets complete with the appropriate bar numbers: E.g. A21 (Part 1) (Rehearsal fig. F bars 124-127).

Section (Where on the score.)

Introduction (Bars 1-27)

Instrumentation (Listed with bold numbers according to the 5 Functions. Detailed above)

Discussion/Commentar y (In light of Sokolow’s Guide and/or my own developments of his techniques)

Solo B-flat Clarinet.

This introduction is purely my own invention. It takes the form of a Clarinet solo in the style of a Doina although it is metered for the sake of compatibility with the ensemble - and it is based on the contours of the original tune’s melodies. The passage works as a ‘Quasi-Recitative’ where the soloist is allowed total freedom and the conductor’s role is to cue the chord changes in the accompanying lines. I aim to create a sense of total freedom within the metric system of time-signatures.

‘Atmospheric’ (Doina) DroneAccompaniment Figures: Dove-tailed drones in lower-brass. Bars 1-7 include: Soft-stick rolls on Susp. Cymbal. One bar introducing the Turkische rhythm on the Timps. Tremolando Mallets. Cass Clarinet decorative trill.

Flutes join the Clarinet Register at bar 13 and play inverted double pedal notes with and above the Clarinet register moving independently from it until bar 20. Oboe countermelody entwines with Clarinet register from bar 16 – 19. Bars 21-22: Horns, Alto.Clarinet, Oboe and Cor Anglais link cadential figure. Same at bars 23-24 plus Flutes. Lilting Horn in 3 anticipates the

Symbols are used in the soloist’s part for additional ornamentation. These are mostly standard symbols that can be found in Mike Curtis’s book (see Bibliography) with the exception of the crèches

opening, Turkische vamp from bar 24 – 27. Clarinet and Flutes sustain pedal notes during this passage with low drones in the Trombones.

which is denoted by a headless appoggiatura - à la Björling - tied to the preceding note as explained above. The accompanying instruments simply drone on the chords with the Solo line wringing the changes but they are responsive to the solo and ‘swell’ with its contours (Listening: SKE Doina1) even playing short melodic figures or decorations reflecting the solo line.

A1 (bars 2839) plus 4-bar vamp.

1. Flutes in unison doubling piccolo (bars 32-35). Then Cornet 1, Horn 1 and Euphonium in Octaves (bars 36-39). 2. N/A 3. None in first 8 bars then Flutes, Oboe and E-flat Clarinet play decorative, ascending, scalic figures when the melody is in the lower registers (bars 36-39). Optional (bracketed) triplet fills for Clarinet 2 at the end of bar 39. 4. Horns 1-4 vamp the Turkische rhythm with the Euphonium from bar 28-35 then with Euphonium. Low Clarinets (plus B-flat 2-3), Bassoon 1 and Trombones 1-2 vamp the Turkische from bar 36-39. Tuba ‘pinches’ throughout (optional fills) with Timps. 5. Snare Drum plays alternative rhythmic figure based on triplets (staring at bar 31.4). Horns 2-4 hold pedals with Cornet 2 (in harmony) from bar 36-39.

The melody is introduced in the high registers with a ‘military-style’ snare Drum figure sticking out of the accompaniment figures. The answering statement to the opening 4 bars comes from the lower and middle registers reflecting the ‘question-and-answer’ feel of the melody. The melody is scored as written-out staccato to emphasise a strict ‘quasimilitary’ rhythmic precision. Ornamentation is written into the melody with the addition of mordent symbols for additional decoration. Some decorative figures are presented on the score as optional. In these cases, the “extra” notes appear bracketed and may either be played or treated as rests.

A2 (Part 1) (bars 40-43)

1. Fl. 1/Ob. 1/B-flat Clt. 1&2/Bsn 1&2. 2. Fl.2/Ob.2/A.Clt. (Below thirds and sixths below the melody). 3. Fl.2/Ob.2/E-flat Clt. B-flat Clt.1 (bar 43). 4. Clt. 3/B.Clt./Tuba/Timps 5. Bass Drum/ Euphonium: ‘pinching’ on the beat. Cts (Cornets) 1&2)/S-Drum: offbeat quavers.

The conical-bore brass instruments are used for the accompaniment figure and ‘pinching’ here giving a mellow sound so that the entry of the cylindrical-bore brass in the answering 4 bars has even more impact on the intensity of the sound.

A2 (Part 2) (bars 44-47)

1. Picc/Fl.1&2/ Ob.1&2/Cor A large Tutti feel to end the Ang./ Clt.2&3/Bsn 1&2/ first statement of Section A. Hn 1/ E-flat Clt. (bars 46) 2. N/A 3. E-flat Clt (bar 47)/Clt.1/AClt./B-Clt 4. Cts.1&2/Tba/Timps 5. Toms/Euphonium: ‘pinching’. S-Dr. /Tpts1&2: offbeat quavers. Cts (bar 47 triplets). Hn 2-4: Drone (Dm chord).

B1 (bars 4855)

1. S-Sax/A-Sax. Ct 1/Euph. (bars 51-55). 2. T-Sax/ct 2 (bars 51-55). 3. A-Sax/Ct.1. 4. B-Sax/Tpt 1&2/B-Tbn. 5. Tbn.1: glissandi crotchets/Euph/Tba (bars 48-51). Susp. Cymb./Timps.

This section modulates to the ‘major’ Moloch (Mixolydian scale). To provide a stylistic contrast this section is swung and features jazz-big-band- type instrumentation with the tune in the reeds over glissandi Trombone comping. This provides an antithetical style to the opening ‘military’ feel discussed above.

B2 (Part 1) (bars 56-59)

1. Clt.1,2&3/Cor Ang. 2. Ob. 1&2 3. Picc/Fl.1&2/E-flat Clt./Mallets 4. A-Clt./B-Clt./Bsn 1&2. 5. N/A

A delicate “frivolous” woodwind response to the “Gaudy” reed-based opening statement.

B2 (Part 2) (bars 60-63)

1. Fl.1/E-flat Clt./AClt./Bsn.1

A new character, somewhat an amalgam of the previous

2. 3. 4. 5. C1 (bars 6473)

N/A two finishes off the B Ob.1 section. Clt 2&3/B-Clt./Euph./Tba. S-Drum (brushes)

1. Tpt.1/Picc/Cor Ang./E-flat Clt. 2. Clt.1 (bars 68 and 71) 3. Cor Ang./A-Clt./BClt./Bsn.1 4. Picc/Flt. 1&2/Ob.1&2/ Timps (bars 64-65)/BClt/Bsn.1 (bars 69-70). 5. B-Clt./Bsn.1/Hn 1 & 3/Susp. Cymb.

This section is essentially a Trumpet solo with interjections from the other instrumentations shown in function 1. These instruments ‘steal’ snippets of melody in a contest to finish off one another’s sentences. To emphasise this, the articulation of the Trumpet line is staccato whereas the interjections from the wood-wind are more legato. In this section Instruments switch function more freely than in previous sections giving a feel of ‘organised chaos’ common in klezmer arrangements for larger ensembles.

C2 (bars 7483)

1. Fl.1&2/Ob.1&2/Cor Ang./E-flat Clt./Clts. 1,2&3/ A-Clt. Cts 1&2. Trb 1&2. 2. N/A 3. Picc/Fl.1&2/Cor Ang./BClt/S-Sax 4. Saxes/B.Trb/Euph./Tba/ Toms. 5. Bsn 1&2/Tpt 2&3/Hn 14/Timps/S-Drum/Susp. Cymb. Vocals

A “tutti” reprisal of the C theme. This section could be considered the apex of the piece. This section is the only one that occurs just once. It is very common in Chassidic cantorial prayer melodies to have a triangular structure which ‘goes up’ and ‘comes back down’ as though the prayer were bringing those singing them close to G-d and back to the mortal plane during its course. To emphasise the importance of this C section I include the only point of vocal punctuation in the arrangement, a final “Oi!” before the restatement of section B.

B21 (Rehearsal fig. D) (Part 1) (bars 8487)

1. 2. 3. 4.

Fl. 1 N/A Picc./A-Sax/Mallets Wood blocks

A delicately textured highregister antithesis to the full orchestration of the last ten bars.

B21 (Part 2) (bars 88-91)

1. 2. 3. 4. 5.

Picc/Sop-Sax/A-Sax T-Sax N/A B-Sax S-Drum

Swung reeds with Tenor Sax Counterpoint and the Piccolo floating above on the melody. Here the ‘military’ snare-drum triplets are unrecognisable as such framed in the opposite context.

B22 (Part 1) (bars 92-95)

1. 2. 3. 4. 5.

Solo Trb N/A B-Sax Tpt 2&3/Euph/Timps Tpt 1/Hn 1&3/C-Cymb. B.Trb

A continuation of the swung big-band feel. A solo Trombone takes the melody adding some gaudy trills over tenor register drones with ‘brassy’ punctuation built on a sliding glissando bass-line. The Turkische has temporarily been hijacked by a raucous jig.

B22 (Part 2) (bars 96-99)

1. 2. 3. 4.

Cnt 1&2/Trb 1&2 Hn 1 N/A Muted Tpt 1,2&3/Hn 3&4/B-Trb 5. Timps/Toms/SDrum/Susp. Cymb.

The tutti response.

D1 (Rehearsal fig E)(bars 100-103)

1. Ob 1/Cor Ang./Clt. 2/Bsn/A-Sax 2. N/A 3. Fl. 1&2/E-flat Clt/Clt. 1/AClt./T-Sax/Mallets 4. Euph. 5. Hn 1-4/Tba

From raucous jigs to … Tango in the freygish mode!. The flexibility of the Turkische leads to yet another giant leap in stylistic imitation (hopefully maintaining its own identity along the way).

D2 bars 104107)

1. E-flat Clt./Clt.1/Clt 2&3/A Sax/T-Sax/Hn3-4 2. N/A

The melody is now given more weight in the alto and tenor registers and the

A little dialogue based on imitation emerges between the snare drum and the Toms. These types of dialogue are common features of klezmer arrangements (see Sokolow ‘Klezmer Style’) although rarely with these instruments.

3. Ob.1/Cor Ang./A-Clt./BClt./Bsn1 4. Euph/Tba 5. Muted Tpt 2&3/Cnt 1/BTrb

counter melodies take over. Muted trumpet arpeggios maintain the Latin flavour.

E1 (Rehearsal fig. F)(bars 108-115)

1. Cnt. 1/Hn 1/ 2. Clt 2&3/A-Clt/B-Clt (bar 111). Picc/Fl 1&2/Ob.1&2 (bar 113) 3. Tpt. 1 (muted) 4. Hn 3&4/Trb1&2/BTrb/Tba 5. B.Clt.

A low register, brass introduction to the new section with the tango rhythm having a last say through the Bass Clarinet.

E2 (bars 116123)

1. Fl.1/E-flat Clt./T-Sax/Euph 2. Picc/Clt1/Clt.2/A-Sax 3. B-Sax/A-Sax/Bsn 1 (optional) 4. Ob.1&2/ Cor Ang./Bsn 1&2 5. N/A

An extension of Sokolow ‘combinations’ for the melody instrumentation with interjections stealing snippets of melody.

A21 (Part 1) (Rehearsal fig. G) (bars 124-127)

1. Fl.1/Ob.1/Clt.1/Bsn. 1/Hn.1 2. N/A 3. N/A 4. Hn 3/Trb 1&2 5. B-Trb

Another extension of Sokolow ‘combinations’ for the melody instrumentation in a simple recapitulation of the A section with no excessive decoration or fills.

A21 (Part 2) (bars 128131)

1. Cnt. 1/Hn 1 &3/Euph. 2. N/A 3. Cnt. 1/Hn 1 &3/Euph. (Decorative rhythm in bar 131) 4. Trb 1&2/Tba 5. B-Trb/Timps

The Cornet and 3rd Horn join the last bar of the opening 4 bar phrase heralding a lower registerbased brass hijacking of the melody just reintroduced by the woodwind. The smallgroup textures of this restatement anticipate the large, tutti orchestration of the repeat.

A22 (bars 132-139)

1. Picc/Fl.2/Ob.1/Cor Ang./E-flat Clt/Clt.1&2/AClt/B-Clt/Bsn 1&2 2. Fl.1/Ob.2/Clt.3 3. E-flat Clt/Cnt.1(optional) 4. Hn 1-4/Timps 5. Tpt. 2&3/Trb 1&2/BTrb/Euph/Tba

Tutti Woodwind playing melody and homorhythmic harmonies with full brass accompaniment figures including the Turkische and ‘pinching’. This section uses parallel thirds for some extended harmonic interest giving an

oriental feel to the melody. Keeping the dancers on their toes: the tempo is increased for this repeat of the A section, the brass motor driving the melody on to its limits. Accompaniment instruments pushing melody instruments by modifying tempi is a common device used in small, intimate Klezmer ensembles. It is not one which is immediately adaptable to a large ensemble such as a wind band but this is where the conductor’s role comes into play. B31 (Part 1) (bars 140143)

1. 2. 3. 4. 5.

S-Sax/A-Sax T-Sax A-Clt B-Sax/Tba A-Clt/Tpt.1,2&3/Trb 1&2/S-Drum/C-Cymb.

A swung, reed take over reminiscent of the first B section.

B31 (Part 2) (bars 144147)

1. 2. 3. 4. 5.

Picc/Fl 1&2/Ob.1&2/Clt.1 N/A N/A B-Clt/Bsn. 1/Hn1-4 Euph

B32 (Part 1) (bars 148151)

1. 2. 3. 4. 5.

Cor Ang/Clt.1,2&3 N/A Ob. 1&2/E-flat Clt. A-Clt/B-Clt/A-Sax/T-Sax Picc/Fl. 1&2/E-flat Clt.

The woodwind start a sentence...

B32 (Part 2) (bars 152155)

1. 2. 3. 4. 5.

Cnt. 1/Hn.3/Euph N/A Hn 1 Tpt 2&3/Trb 1&2/B-Trb Tpt. 1 (bar 155-outlines dominant 7th)

...the brass finish it.

D21 (Part 1) (Rehearsal fig. I) (bars 156-159)

1. Picc/Fl. 1&2/Cor Ang/BClt/Bsn.1&2/Cnt.2/Hn 4 2. Ob.1&2 3. Tba (Timps/Toms) 4. N/A 5. Tpts 1,2&3/Trb1&2/BTrb/S-Drum/Timps/Toms

D22 (Part 2) (bars 160163)

1. 2. 3. 4. 5.

E21 (Rehearsal fig. J) (bars 164-171)

1. Picc/Fl.1/Ob.1/SSax/Bsn.1 2. Fl.2/Ob.2/E-flat Clt./Bsn.2 3. A-Clt./Bsn 1 4. Tpts/Hn.2&4/Euph 5. A-Sax/T-Sax/Trb.1&2/BTrb/Tba/Timps

E22 (Rehearsal fig. J) (bars 172-End)

Euph N/A Cor Ang/Bsn.1/Hn. 1&4 N/A Fl.1&2/Ob.1&2/Hn3&4)/ Mallets

Tpt.1/Hn. 1 Tpt 2&3 Tutti Bsn.1&2/Clt.2&3/AClt/Tba 5. Cnt.1&2/Hn.3&4/Trb. 1&2/B-Trb 1. 2. 3. 4.

This second version of the D section is the only moment in the whole piece where the Turkische rhythm is temporarily dropped with a raucous, rhythmic counter melody suddenly imposing in its stead. This would have been very uncharacteristic of klezmer arrangements at the time of Naftule’s orchestra but since the klezmer revival bands like The Klezmatics, Frank London’s Klezmer Brass All-stars (see Listening) have incorporated temporary stylistic deviations such as this into their arrangements. A delicate ‘echo’ of the previous ‘tango’ D section. The Euphonium’s principal melody is buried under layers of woodwind countermelody punctuated by Mallet arpeggios and ‘floboe’ pinches. The ‘floboe’ takes the melody and some syncopated accompaniment figures in the reeds keep the motor ticking over. Similar interjections to the first C section feature.

Appendix IV

Notation Key and Symbols for Optional Supplementary Ornamentation27

Krekhts: The krekhts (a ‘sigh’ or ‘moan’) is perhaps the quintessential klezmer ornament.28 They are notated as a grace note without a note head tied to the preceding note (see fig.1)and should be played with a brief silence before the following note. The pitch of a krekhts is indefinite or unimportant.

fig.1

Mordents: Upper-note mordents are notated as traditional mordents (see fig.2) and should be regarded as short trills without any direct specification for rhythm. They could either have a triplet or demisemiquaver feel depending on the instrument and the player. On notes of shorter length than a quaver, the symbol shown in fig.3 is used for upper-note mordents. On notes longer than a crotchet the symbol shown in fig.4 is used. When playing these mordents the notes of the mode should be used at all times unless otherwise specified, e.g. f-natural would go to G-sharp in the Mishebeyrekh scale.

fig.2

fig. 3 27

Mike Curtis’s book, The Klezmer Repertoire (for B-flat Clarinet) was particularly useful as a source for commonly used symbolic notation of ornamentation. In my opening doina in particularly I made use of symbols found in Curtis’s compilation. Kurt Björling, Jewish Doinas: 7 transcriptions of vintage recordings with notes and comments by Kurt Björling (Publication Date Unknown Björling’s own Publication)

28

See Explanation of Ornamental Symbols… (Photocopied section of Jewish Doinas, 7 transcriptions of vintage recordings with notes and comments by Kurt Björling)

fig.4

Pitch bending: Pitch bends (see fig.5) may be interpreted with a certain level of freedom depending on individual instruments. Generally speaking this should be regarded as a ‘swerve’ about the notated pitch moving down and back up once or vice-versa rather than a wide vibrato. On brass instruments this is easily achievable with modifications of the embouchure whilst blowing whereas some woodwind instruments will have to use fingerings for this effect. The exact techniques are left to the discretion of the individual players.

fig.5

Chirps: This is specifically a clarinet technique where a rapid tightening of the embouchure produces a sharp stabbing pitch-bend.29 It can be repeated many times in succession. Exact pitches are not specified but the direction of the pitch-bend (almost always downwards) is indicated by the symbol as shown in fig.6.

fig.6

Spoken Words: There is only one instance in the score where players are asked to speak a syllable to punctuate the end of a phrase at a cadence point. It is notated as shown in fig.7 with the syllable provided below the note.

fig.7

Trills: Standard trill notation is used throughout the score. 29

This notation is used by both Curtis and Björling

Appendix V Glossary of terms

Doina

The Doina is a Romanian musical tune style. The doina has Turkish influences, and it is probably of Middle Eastern origin. It can be found in Romanian music, as well as in Klezmer music.30

Loshn

Klezmer-loshn (Yiddish for Musician's Tongue) is an extinct derivative of the Yiddish language. It was a slang or argot used by travelling Jewish musicians, known as klezmorim (klezmers), in Eastern Europe prior to the 20th Century.31

Nigun

Nigun (pl. nigunim, ‫ )ניגון‬is a Hebrew term meaning “humming tune.” Usually, the term refers to religious songs and tunes that are sung by groups. It is a form of voice instrumental music, often without any lyrics or words, although sounds like “bim-bim-bam” or “Ai-ai-ai!” are often used.32

Krekhts

Krekhts or krekhtsn (Yiddish for "sobs") are kind of dreydlekh (ornamentation) in klezmer music, especially on the violin and clarinet.33

Hassidic

Hasidic Judaism or Hasidism, from the Hebrew: ‫ חסידות‬Hasidus meaning "piety", is a branch of Orthodox Judaism that promotes spirituality and joy through the popularisation of Jewish mysticism as the fundamental aspects and of the Jewish faith. The majority of Hasidic Jews are ultra-orthodox.34

30

en.wikipedia.org/wiki/Doina (last accessed 9/3/11) See also Recordings listed in Appendix VIII for ‘field recordings of the SKE discussing and practicing Doinas. 31 http://dictionary.sensagent.com/klezmer-loshn/en-en/ (last accessed 9/3/11) 32 en.wikipedia.org/wiki/Nign (last accessed 9/3/11) 33 see footnote 29 34 en.wikipedia.org/wiki/Hassidic (last accessed 9/3/11)

Appendix VI Listening List: Cds Brave Old World:

Beyond the Pale Blood Oranges

Budowitz: Budowitz Live Dave Tarras: Yiddish-American Klezmer Music 1925-1956 Di Naye Kapelle: A Mazeldiker Yid Zev Feldman & Andy Statman: Jewish Klezmer Music Frank London’s Klezmer Brass Allstars: Carnival Conspiracy Joel Rubin: Hungry Hearts Joel Rubin Ensemble: Midnight Prayer Naftule Brandwein: Rumenisha Doina (included in Appendix VIII) Harry Kandel: Master of Klezmer Music-Russian Sher Khevrisa: European Klezmer Music The Klezmatics: Rhythm & Jews Klezmer Conservatory Band: A Taste of Paradise A Jumping Night in the Garden of Eden Klezmer Pioneers: European and American Recordings 1905-1952 Naftule Brandwein: Naftule Brandwein 1922-1923 (Kurt Björling) Naftule Brandwein: King of the Klezmer Klarinet Various Artists: The Rough Guide to Klezmer Veretski Pass: Veretski Pass The Strauss/Warschauer Duo: Rejoicing Yikhes (Lineage): Early Klezmer Recordings 1911-1939

Youtube: A Klezmer Karnival (Phillip Sparke) http://www.youtube.com/watch?v=isFEMiwVaSQ (last accessed 9/3/11

Appendix VII Bibliography Peter Sokolow, Peter Sokolow’s Guide to Klezmer Arranging and Orchestration (Tara Publications, 1991, Peter Sokolow) Mike Curtis’s, The Klezmer Repertoire for B-flat Clarinet (ADVANCE MUSIC, 1996) Mark Slobin. American Klezmer: Its Roots and Offshoots (University of California Press, 2002) Seth Rogovoy: The Essential Klezmer: A /music Lover’s Guide to Jewish Roots and Soul Music, from the Old World to the Jazz Age to the Downtown Avant-Garde. (Algonquin Books of Chapel Hill, 2000) Strom, Yale. The Book of Klezmer: The History, The Music, The Folklore 1st ed. p.157 Alfred Blatter, Instrumentation and Orchestration Kurt Björling, Jewish Doinas: 7 transcriptions of vintage recordings with notes and comments by Kurt Björling (Publication Date Unknown, Björling’s own Publication)

Journals/Lectures/Essays: Essay: Walter Zev Feldman: Bulgareasca/Bulgarish/Bulgar: The Transformation of a Klezmer Dance Genre (Ethnomusicology, Vol. 38 No. 1, Winter 1994). Lecture: Joel Rubin: What A Jew Means in This Time: Naftule Brandwein, Dave Tarras and the Shifting Aesthetics in the Contemporary Klezmer Landscape. The lecture notes and accompanying recordings can be found here: http://conferences.library.wisc.edu/index.php/conney2007/issue/current (Last accessed Wednesday 9th March 2011)

Appendix VII List of Websites (all last accessed Wednesday 9th March 2011): http://www.clarinet-klezmer.com/Klezmer-Music-Modes.html www.manchesterklezmer.org http://www.manchesterklezmer.org/pages_history_musicology/what_is_klezmer_rh ythms_1.html http://www.jmi.org.uk/ http://www.ilanacravitz.com/music&sound.htm http://www.franklondon.com/dsk.html http://joelrubinklezmer.com/ en.wikipedia.org/wiki/Nign

Appendix VIII Recordings Here is a list of the ‘field’ recordings (and one radio recording made at SOAS) that I made whilst researching for this arrangement. These recordings are provided as aif files on the CD-R together with this rationale. 1.

One version of our arrangement of the tune (Turkische Yalle Vey Uve) can be heard on this podcast (approx. half way through) from SOAS Radio: http://soasradio.org/content/listen-local-episode-2-soas-klezmer-ensemble (last accessed 9/3/11)

2.

SKE Rehearsal: Pitch-bend wide vibrato Trills

3.

SKE Rehearsal: Krekhts Sing & Play

4.

Naftule Brandwein: Rumenishe Doina

5.

SKE Rehearsal: Doinas: Discussing, listening to and eventually trying out Doinas.35

35

The poor quality of these recordings is due to the poor quality of my dictaphone. For this I can only apologise.

Appendix IX

Hard Copies List

The following documents are provided as hard copies together with this rationale:

Photocopy of a Notation Sheet from: Kurt Björling, Jewish Doinas: 7 transcriptions of vintage recordings with notes and comments by Kurt Björling (Publication Date Unknown, Björling’s own Publication)

Note: These photocopies are reproduced by kind permission of the JMI (Jewish Music Institute) and are strictly for the purposes of this rationale. They must be destroyed after this rationale has been graded.

– Andrew Gorman (MMus Year1) Trinity College of Music, 10th March 2011