Enjoy with Naftule Brandwein, benchmark clarinetist of klezmer, born in Przemy\u015blany at the time when it belonged to the Austrian Galicia, in 1889, and recorded in 1926 in New York\u00a0<\/strong><\/span><\/h4>\n![\"Portrait](\"https:\/\/mcusercontent.com\/bc493816d894ee14ba9103e7b\/images\/29924501-ffe1-4efb-acc3-3f2172681f33.png\")
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It seems the havoc of the coronavirus in New York are relenting little by little during the last days. Let’s hope it will end soon! In this edition of Music Before Shabbat we will listen a recording done over there: the city that welcomed our protagonist and that allowed him to become a star and made possible that we can enjoy his music nowadays.<\/p>\n
Naftule Brandwein<\/strong>\u00a0left the Old World,\u00a0his village of Przemy\u015blany, that had been part of the Ruthenian Poland until the Partitions, that belonged to the Austrian Galicia at the time of his birth and that nowadays is part of Ukraine, and arrived in New York in 1908.<\/p>\n![\"Portrait](\"https:\/\/mcusercontent.com\/bc493816d894ee14ba9103e7b\/images\/ed5e9107-4035-4ec2-86a1-1b910445b294.jpg\")
Over there,\u00a0as he was unable to read music, it was difficult to enter in an orchestra, so\u00a0he made his living\u00a0playing\u00a0mainly in weddings. Soon he\u00a0became\u00a0known for his eccentricities, like wearing extravagant clothes (sometimes he dressed like Uncle Sam with christmas lights or even with his pants down) and\u00a0playing back to the audience to hide his fingers’ technique.\u00a0He raised an earned reputation of gambler and a\u00a0drinker and his behaviour would prevent him for keeping a regular job in any band. So, from 1920, he worked under his own name, he proclaimed himself as the\u00a0King of Jewish Music<\/em>\u00a0and in 1926 he recorded\u00a0one of my favourite pieces of the History of klezmer:\u00a0Von tashlach \/ New Year’s Prayer at the River<\/em><\/strong>. Enjoy it here below.<\/p>\nThe sources I have used for this email are\u00a0Experiencing Jewish Music in America: A Listener’s Companion<\/em>, by Tina Fr\u00fchauf and the web of\u00a0Institut Europ\u00e9en des Musiques Juives<\/a>.<\/p>\nBefore ending, I want to\u00a0thanks the\u00a0Jewish Music Institut<\/a><\/strong>\u00a0for mentioning\u00a0the\u00a0edition of my Music Before Shabbat\u00a0with Hans Bloemendal<\/a>\u00a0in\u00a0their Twitter<\/a>. They are broadcasting concerts in\u00a0their Facebook<\/a><\/strong>\u00a0site.<\/p>\nClic to enjoy the music of Naftule Brandwein:<\/strong><\/h4>\n
<\/p>\nThe sources I have used for this email are\u00a0Experiencing Jewish Music in America: A Listener’s Companion<\/em>, by Tina Fr\u00fchauf and the web of\u00a0Institut Europ\u00e9en des Musiques Juives<\/a>.<\/p>\n Before ending, I want to\u00a0thanks the\u00a0Jewish Music Institut<\/a><\/strong>\u00a0for mentioning\u00a0the\u00a0edition of my Music Before Shabbat\u00a0with Hans Bloemendal<\/a>\u00a0in\u00a0their Twitter<\/a>. They are broadcasting concerts in\u00a0their Facebook<\/a><\/strong>\u00a0site.<\/p>\nOver there,\u00a0as he was unable to read music, it was difficult to enter in an orchestra, so\u00a0he made his living\u00a0playing\u00a0mainly in weddings. Soon he\u00a0became\u00a0known for his eccentricities, like wearing extravagant clothes (sometimes he dressed like Uncle Sam with christmas lights or even with his pants down) and\u00a0playing back to the audience to hide his fingers’ technique.\u00a0He raised an earned reputation of gambler and a\u00a0drinker and his behaviour would prevent him for keeping a regular job in any band. So, from 1920, he worked under his own name, he proclaimed himself as the\u00a0King of Jewish Music<\/em>\u00a0and in 1926 he recorded\u00a0one of my favourite pieces of the History of klezmer:\u00a0Von tashlach \/ New Year’s Prayer at the River<\/em><\/strong>. Enjoy it here below.<\/p>\nClic to enjoy the music of Naftule Brandwein:<\/strong><\/h4>\n