Detroit Symphony Blog: Klezmer and Classical? Why not.

Tuesday, December 1, 2009

Klezmer and Classical? Why not.

by Jim Boyle

Over the years as Jewish immigrants left Eastern Europe for American cities like Detroit, with them came their rich traditions. Musically, this often meant Klezmer, the sort of Eastern European, traditional folk-jazz sound that's some times associated with Fiddler on the Roof and Jewish weddings.

With roots that harken back to biblical times, Klezmer's popularity in the United States has waned and resurged in pulsating increments since the arrival of European settlers. One noted downturn was after World War II and the Holocaust, as immigrating Jews anxious to adjust to American culture sought a less "ethnic" musical direction. However, as with many great traditions, Klezmer was rediscovered by subsequent generations of musicians (both in the U.S. and elsewhere) searching for their own cultural identities and inspiration. Today, wisps of its influence can be heard all around us - from jazz to world-music to indie rock.

But can Klezmer work in the classical world? Mashing the two might be a stretch for some. But, just as Gershwin brought jazz out of the clubs and into the orchestra pit with his ever-popular Rhapsody in Blue (including the very Klezmer-esque opening clarinet), so might Klezmer be received in the classical sphere. Fresh. Insightful. New.

Judge for yourself on on December 10th and 11th when Leonard Slatkin brings us a truly rare world premiere - concerto for Klezmer and Orchestra - composed by the inventive Wlad Marhulets. With his classical training and Jewish heritage it's a nature fit and perfectly aligned with his lean towards the experimental. It's certainly shaping up to be a special I-was-there night.

Labels: Noteworthy