Kyiv hosts festival of klezmer music

“Music was born by the spirit of the prophets and has the power to uplift anyone to the level of prophetic inspiration.” These words by Rabbi Nakhman in the best way possible express the musical soul of the Jewish people. The art of the klezmers, or wedding musicians, is one of the most remarkable parts of this soul. Following many decades of oblivion, the klezmer art is on the rise. The proof of this is that for the third year running festivals of klezmer music have been staged in Ukraine, thanks to the efforts of a group of enthusiasts headed by Yana and Borys Yanover.

By tradition, Klezfest 2002 in Ukraine is not only a forum for brilliant performers, but, primarily, a venue for studying and sharing of experience, with about fifty participants from Ukraine, Moldova, Russia, Latvia, Estonia, and Kazakhstan diligently sitting in on classes led by Adriana Cooper, famous performer of Yiddish songs; Zalmen Mlotek, art director of Broadway’s Folksbine Jewish theater: and clarinetist Merlyn Shepperd (UK), leader in the traditional klezmer style. Eda Berehovska, daughter of explorer of Jewish folk music Moses Berehovsky, and Chicago-based archivist Kyryl Rabynovych were guests of the festival.

Klezfest has become a feast of music. A real talent is multidimensional, and one of its dimensions is to present a well-known tune as something new, familiar music as simply amazing. These were my feelings at the Klezfest 2002 when I heard the vintage klezmer song “Where Have You Been Before?” performed by the Kharkiv Klezmer Band. Their effervescent and brisk interpretation spread through the hall, provoking everyone to break into dancing. We spoke about it and many other things during the festival with the band leader, Stanislav Raiko.

“Our band was created in the spring of 1999,” he recounted, “under the Kharkiv Beit Dan Jewish Center and with backing from Joint. Our objective was to revitalize klezmer music as an amazing integral part of the Jewish culture. There were three of us at the beginning, but now we are five. Apart from me, other members of the band include cellist Abbas Zulfuharov, accordionist Yury Khaison, clarinetist Hennady Fomyn, and solo singer Mykhailo Krupnykov. In the two and a half years of the band’s existence we have visited many Ukrainian cities, Moscow, St. Petersburg, and Tallinn. Our trip to Hungary was very interesting. A one-night festival of klezmer music has become an annual tradition in Budapest. Typically, the night starts with a speech from some popular Jewish writer or poet to be followed by a grand concert where not only local musicians, but also foreign guests perform. As many renowned bands had played at this festival before us, we had to do our best to show class. Our second appearance in Hungary was during the international festival of folk music in Miscolc. We were the only Jewish band, representing Ukraine together with the Ukrainian State Radio Orchestra.”

“As far as I know, this festival is quite different from those held in Ukraine.”

“While only established performers are invited to our festivals, the London forum is similar to Klezcamps held in the United States. In fact, the festival is one big happy camp hosting some five hundred people where you can go with your family to share Jewish culture. But America is America, and modern klezmer music is tightly intertwined with jazz there. Just listen to any American freilaks and you will realize its difference from those pieces we played in Kyiv with virtuoso clarinetist from England Merlyn Shepperd. In terms of both its spirit and number of participants, the London festival resembles the American ones, but in London they play traditional Ashkenazi music. Our Yevpatoriya seminar is a forum for professionals, while amateurs who can pay their way and stay typically go to London. Similar festivals, although on a lesser scale, take place in other countries.”

“Certainly, a good general musical training is essential to play klezmer music.”

“Paradoxical as it might seem, a classical education is often a barrier, with its dogmas acting like millstones around one’s neck. The fact is that klezmer music is based on improvisation, and that’s why it is much closer to jazz. True, without a good playing technique you cannot perform classy music.”

“Do you think the culture of Yiddish speaking Jews has a future? At some point it was almost extinct.”

“Klezmer music is a part of Yiddishkite. Once I was told about the great writer Isaac Bashevis Singer. When he was being awarded the Nobel Prize, he was asked, ‘Why do you write in Yiddish? It’s a dying language.’

“He answered, ‘They’ve kept telling us that Yiddish is dying for 500 years. Let them keep talking.’ I might have had the same question, had I not been at the London klezfest where I saw people united by the single idea of playing Jewish music and singing songs in Yiddish, when I saw a packed hall despite very expensive tickets – and that was the answer to the question. I think Yiddishkite will never end. I hope the Jewish music will gain more and more popularity.”

“You mentioned the closeness of jazz and klezmer. Are you a supporter of pure klezmer music?”

“It gives me pleasure to listen to bands playing postmodern music, but traditional music is closer to me. I believe that musicians living in Eastern Europe, the cradle of this musical genre, should begin by playing this kind of music. It’s a must for every musician. Quite obviously, your imagination and fantasies might take you farther than that, but you’ve got to start your career with the tradition.”