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Description
These rare, mostly historical recordings are all issued on CD for the first time and stem from the National Sound Archives (Jerusalem), the YIVO Institute for Jewish Research (New York) and Gratz College (Pennsylvania), as well as from the archive of DeutschlandRadio and private European collections. - "Some of the best digital remastering I have ever encountered." (Jewish Quarterly)
Content
Alex Olshanetsky’s Orchestra: Yiddishe Hora und Sarba Maracinei
Avrom Segal, T’khies Ha-Meysim
Belf’s Romanian Orchestra: Na Rasv’et’e
Platch Yevreia
Cherniavsky’s Yiddishe Jazz Band: Der Dibuk
Dave Tarras Jewish Instrumental Trio: Kiever Sher
Dave Tarras: Duvid, Shpiel Dus Noch Amul
H. Steiner: Potpourri of Jewish Melodies
Hymie Jacobson’s Orchestra: Yiddish Bulgar
Jacob Gegna: Taxim
Jewish Wedding Orchestra: Gereist und getroffen
Joel Rubin Jewish Music Ensemble: Gershfeld’s Bulgarish
Naftule Brandwein’s Orchestra, Doina
Honga Ciganesta
Odesser Bulgar Dance
Orchestra of the Lemberg Yiddish Theater: Overture to Die Drei Matunes
Shloimke Beckerman: Hot Azoi
State Ensemble for Jewish Folk Music of the Ukrainian SSR: Bazetsn di Kale
Sher
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More from this series
World Music – What Is Distant? What Is Near?
World Music is a not uncontroversial term for the rich variety of musical culture of our planet, and it comprises not only the musical traditions of the rural parts of Africa, Asia, and Latin America but also those of the high cultures of the Indian subcontinent, Japan, and China as well as the popular music of urban metropolises throughout the world today.
This edition of CDs, most of which were produced in cooperation with Berlin’s House of the Cultures of the World and the Music Department of Berlin’s Ethnological Museum, mixes up the categories of “foreign” and “familiar” not only by bringing closer things that are unknown and unfamiliar but also by revealing the familiar in the foreign and the foreign in the familiar.
The encounter with the varied musical ideas that exist outside of our own culture has made us more aware of our own categories and shown us that we can no longer operate with a single compulsory aesthetic but that we must instead speak of innumerable distinctive aesthetics. This conclusion is supported both by the extraordinary recordings and the high quality of the booklet texts on the WELTMUSIK label.
Jewish Music Series – edited by Rita Ottens & Joel Rubin
