CONTACT US contacto@klezfiesta.com.ar SPANISH English Site
Currently, we are attending a boom of Klezmer Music around the World. Joyful, lax, energetic and with nostalgic spots, klezmer is played with the soul and for the soul. It goes beyond borders and through languages, conquering heterogeneous audiences which enjoy, dance and going mad at its beat.
Klezmer is the music from the Yiddish culture, language spoken by the numerous European Jewish Community, placed in a large portion of the Central and Eastern Europe along the Second Millennium; from Germany up to Russia, From Baltic Sea to Black Sea.

The word Klezmer derives from yiddish כלזמיר, (see video "History of Yiddish") ethimologically from Hebrew k'li zemer כלי זמר, "music instrument "; the word "kli" linked to "instrument, tool or container " and the word "zemer"singing, sound and worshipping".

Originally, word klezmer refers to music instruments with which this music was played. Nevertheless, later on, this applied both to the style and the musicians themselves, now called klezmorim.

Along the Jewish history music always had a dominant role
Torah, Hebrew word that means learning, instruction or, more specifically, Law; which covers the first five books of the Bible (which are called by Chrsitians Pentateuco), is not read but sung. Celebrations and funerals were sung along, rabbis were able to keep the tradition of music in every temple and religious service; after the destruction of the Second Temple of Jerusalem, Jews continued with this tradition in the exile, called “diaspora".
 
Klezmer is easily recognized by its characteristic expressive tunes, close to human voice, inclusion of laughs, crying and howling. Even when there is no accurate register, Klezmer music is born little after the turn of the Second Millennium.

At the beginning, musicians went around large extensions of land working as street performers, going from village to village and performing in taverns, street, and theaters, weddings from Jews and Christians and family parties. From these circumstances, it is born the street and occasional musician, which gives life to village’s celebrations, bringing tunes that might appear as nostalgic but, on the contrary, are the highest expression of the joy for life, as it is affirmed by the name of some styles, such as freilaj (joyful).
Klezmorim gathered and made up small orchestras with varied instruments. Sometimes they were accompanied by a marshalik (comedian) or a singer who would sing folk themes in Yiddish language. These singers and storytellers would be the base for the starting Jewish drama and stage performance. At the beginning, singers and instrument players were the same person. .

Folk song soon started to take up tunes for dancing. In this way, music approached the soul of a people. As it is stated in his book Klezmorim (Jewish Folk Musicians) by author Joachim Stutchewsky, "the nest of klezmer music is not in noble courts, nor in aristocratic and worthy ballrooms, nor in classrooms by the piano, and, of course is not in music sheets".
In this way, Klezmer music along the time brought in music influences from other peoples, new regions in which Jews were settling down. It has Slavic, Romanian, Hungarian, Bulgarian, and German ingredients; and later, Gipsy, Greek, Balkan and also Arab and Turkish music. Its repertoire was wide, covering religious songs, popular tunes, Yiddish songs and classical music.
Klezmer assumes the tradition of Hassidic music – mystic movement within Judaism, which is born in Eastern Europe in XVIII Century- and adds up sounds and instruments and ways of playing from those countries where Diaspora Jews lived, bringing a special touch with the addition of clarinet at that time.
Pogroms in Europe (mass slaughter of Jewish population) at the end of XIX century and beginning of XX, resulted in a large migration of the community to United States, where klezmer music takes ingredients from jazz. But its spreading is on the fall, even more with the persecution and annihilation of Jewish culture by Nazism, which contributed to disappearance of klezmer.
After an absence of several decades, at the end of the 70s, a re-birth of klezmer takes place, when non-Jewish jazz musicians started to play and research on the music style, such as famous clarinetist Don Byron, who is part of the internationally renowned Klezmer Conservatory Band, reference orchestra in the Klezmer revival.
This “Revival” of Klezmer music is quickly transmitted into United States and Europe, giving birth to several multi-cultural orchestral groups during 80s and 90s; when also Jewish musicians arrived at this trend of new orchestras playing Jewish music, recovering thus a tradition almost lost and ignored by 2 or 3 generations, that today are connected again with it.

Also in our country, though somewhat late; a similar phenomenon to the one happened abroad: several Klezmer bands have been shaped in Buenos Aires in the last 3 years, and this new beat in the Argentine stage is expanding in a surprising way.

If you wish to be part of the Festival, send an e-mail to contacto@klezfiesta.com.ar
And we will contact you.

In Buenos Aires

Performances in Theatres, Cultural centers, Embassies, Churches, Synagogues, stages in the open air at midday and at night in downtown, concert at the Anfiteatro Griego from Costanera Sur, big Closing Ceremony at the Planetarium of Palermo. Workshops, Peña klezmer and Romanian film season.

In Córdoba and Mendoza
CONCERTS at midday and during the evening: squares, parks
KLEZMER GALA at theatre
Romanian film season.
contacto@klezfiesta.com.ar