# Klezmer



## Ingélou (Feb 10, 2013)

I first played a Klezmer tune out of a child's music book that I was studying with Stella. I liked it, but when she said that 'Klezmer uses different rules', it just confirmed my idiotic idea that Klezmer was the name of a provocative composer. Then, just before Christmas 2013, Fiddle Guru played me a tune out of Ilana Cravitz's Klezmer tutor, and I learned the truth. I felt so silly, but ever after I have enjoyed talking about 'Mr Klezmer' - may he and his large family prosper.

Fiddle Guru was keen for me to go on to this book. He picked an easy enough tune, which sounded fab but too difficult for me, so I refused. He insisted on lending me the book with its accompanying cd over the Christmas holidays, and John and I fell in love with this style of music - so much so that when we had the cd on while John was driving, he waxed fast and furious as Jehu and I feared for our safety. We bought our own copy of the book and cd, & I toyed with the idea of learning the music, but rejected it as too hard; this didn't stop the Guru from urging it on me at every opportunity.

Later that year, when I gave up Suzuki, I felt improved enough to put a few of the Klezmer tunes on my alternative 'leet' - my practice list that I make every week. I had a go - and Fiddle Guru was pleased. So in the end, I ended up learning the whole book, and even made an mp3 of one tune, because Fiddle Guru said he wanted to teach Klezmer (he'd been on Ilana's course) & wanted an example on his website. It could be worse, this mp3 of mine, but I still cringe when I hear it. It's too slow & Fiddle Guru's plonking accompaniment doesn't help; but it has its moments, & at least for once I had the bottle to do it. The strange figure on the thumbnail is a 'Hamlet' pencil that I made for Fiddle Guru - novelty pencils is one way for me to express how zany & bizarre the whole lesson experience with FG is!






I was different when I played Klezmer, because I felt outside that tradition, but at the same time, it was outside my normal repertoire. I felt that it didn't matter if I went wrong and this was liberating. I was able to play loudly and with more emotion and expression & this was such a welcome change for the Guru.

As I drew towards the end of the book, he was keen for me to go on to more tunes of Ilana's, which can be found on her website. But I felt that I had played the main traditional tunes & didn't want 'modern composed' klezmer. The Guru says on his introduction to his mp3 that I came to him to learn Celtic folk tunes, but had 'found my voice' in Klezmer - but this isn't true. My 'voice' is to be found where my heart is, in Scottish traditional music, and particularly strathspeys.

Nevertheless my year of Klezmer was a joy and a huge help in my Fiddle Trek. I wrote a letter to 'Mr Klezmer' and sent it to Fiddle Guru, which I reproduce below.

*Dear Mr Klezmer,
I want to thank you for allowing me to stay in your house for nearly a year - and for the gifts that you've showered me with.

These being:
Enormous fun - helping me to relax in lessons.
Confidence - finally being able to play something 'not-too-badly'.
Opportunity - I discovered that I can respond to the moods I see in music & aim at a style - being in control of what I do.
The enjoyment of playing with another musician as 'part of a team'.
Playing in other keys than the usual - practice helps.
Helping my fingers to play unusual flats & sharps.
Great help with shifting positions.
Some help with speed.
Great practice at bowing. 
A refreshing change of style.
Enormous help with dynamics.
I learned to play 'loud' with you, sir.
Cultural interest.
Trills

and many other gifts which will no doubt occur at dead of night.
It's been a joy and an honour, Mr Klezmer, and I'll come again.

Adieu for now,
Mollie xx*


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