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      "dwf_livret" => "<h3>Ecos de Sefarad FA9513</h3><p><span class=Texte><span class=Soustitre2>EcoS de Sefarad<br />&OElig;uvres pour guitare et violoncelle du r&eacute;pertoire jud&eacute;o-espagnol<br /></span><span class=Soustitre>Viviane L&eacute;vy<br />Fr&eacute;d&eacute;ric Ben Attar</span><br /></span><span class=Texte><br /><strong>Jorge Lidermann (1957-2008)<br />Aires de Sefarad<br /></strong>1- Adios querida<br />2- Alci mis ajos al cielo<br />3- Cinco a&ntilde;os ya va a hazer<br />4- Morena me Ilaman<br />5- Mi padre era de Francia<br />6- La soledad de la nochada<br />7- Por la puerta yo pasi<br />8- Cascavela del amor<br />9- Yendome para Marsilia<br />10- Mi suegra<br />11- La vida do por el raqui<br /><strong>Joaquin Rodrigo (1901-1999)<br />Guitare seule<br /></strong>12- Ecos de Sefarad<br /><strong>Joaquin Rodrigo - <br />Victoria Kamhi (1905-1997)<br /></strong>13- De Ronda<br />14- Adela<br /><strong>Isaac Alb&eacute;niz (1860-1909)<br /></strong>15-Tango<br />16-Córdoba<br /><strong>Enrique Granados (1867-1916)<br /></strong>17- Andaluza <br />18- Oriental<br /><strong>Federico Garcia Lorca (1898-1936)<br /></strong>26- Anda, Jaleo<br />27- La Tarara<br />28- Los cuatro muleros<br />29- Las tres hojas<br />30- Sevillanas del siglo XVIII<br />31- El Caf&eacute; de Chinitas<br />32- Nana de Sevilla<br />33- Las morillas de Ja&eacute;n<br />34- Zorongo gitano<br /><strong>Manuel de Falla (1876-1946)<br /></strong>19- El pa&ntilde;o moruno<br />20- Seguidilla murciana<br />21- Asturiana<br />22- Jota<br />23- Nana<br />24- Canción<br />25- Polo</span></p><br /><p><span class=Texte><strong>Viviane L&eacute;vy :</strong> violoncelle<br /><strong>Fr&eacute;d&eacute;ric Ben Attar :</strong> guitare<br /><strong>Agn&egrave;s Abiton :</strong> directrice artistique<br /><strong>Gr&eacute;gory Goldstein :</strong> prise et son <br /></span><span class=Texte>www.flashproductions.net</span><br /><span class=Texte>Tableau : Amarilys Ben Attar</span></p><br /><p><span class=Texte>Droits : Fr&eacute;meaux &amp; Associ&eacute;s <br /></span><span class=Texte>preprod.fremeaux.com</span></p><br /><p><span class=Texte><p align=justify><p align=justify><span class=Texte>Remerciements &agrave; G&eacute;rard Abiton et Pascale Fran&ccedil;ois pour leur soutien et leurs conseils. Merci aussi &agrave; Mireille L&eacute;vy et Richard Haydon pour leur aide &agrave; la traduction en anglais. Un grand merci &agrave; Jacqueline Quesada qui a traduit le texte en espagnol et qui nous a fait vivre par son histoire et ses &eacute;motions une Espagne authentique, loin des clich&eacute;s habituels.</span></p><br /></p></span><br /><span class=Soustitre2>ECOS DE SEFARAD</span></p><p align=justify><p align=justify><span class=Texte>Jorge Liderman (1957-2008) est n&eacute; en Argentine d&rsquo;une famille d&rsquo;origine europ&eacute;enne. Sa musique est inspir&eacute;e &agrave; la fois par Bartok et Stravinsky, puis par Ligeti et Reich. Compositeur reconnu aux États-Unis, son catalogue comporte aussi bien de l&rsquo;op&eacute;ra, de la musique d&rsquo;orchestre ou de chambre que des pi&egrave;ces pour instrument solo. Apr&egrave;s des &eacute;tudes de composition &agrave; la Rubin Academy of Music de J&eacute;rusalem, ce guitariste d&rsquo;origine devient professeur de composition &agrave; Berkeley.<br /></span></p><p><span class=Texte><br /></span></p></p><span class=Texte><p align=justify><span class=Texte>Il arrange 46 chansons issues de l&rsquo;anthologie des chants jud&eacute;o-espagnols d&rsquo;Isaac L&eacute;vy pour le duo 46 (Violon et Guitare).&nbsp;&nbsp;<br />&Agrave; la premi&egrave;re qui eut lieu en Turquie, une partie du public venaient de pays comme l&rsquo;Irak, la Turquie ou l&rsquo;Iran. Ce qui est remarquable, c&rsquo;est que ces personnes ont reconnu ces chants comme les leurs, faisant partie de leur patrimoine musical.<br />Il est donc fascinant d&rsquo;apprendre que ce r&eacute;pertoire a voyag&eacute; &agrave; travers tout le bassin m&eacute;diterran&eacute;en et est ainsi devenu un r&eacute;pertoire mondial.<br />Les chansons interpr&eacute;t&eacute;es dans cet album se pr&ecirc;tent particuli&egrave;rement au changement de tessiture pour violoncelle et guitare, avec les modifications qui permettent &agrave; la voix du violoncelle d&rsquo;exprimer toute sa g&eacute;n&eacute;rosit&eacute; et son lyrisme.<br /></span><br /><p><span class=Texte>Les quatre c&eacute;l&egrave;bres compositeurs espagnols Joaquin Rodrigo, Isaac Albeniz, Manuel de Falla et Enrique Granados sont instigateurs du renouveau de la musique nationale espagnole. Ils ont, tous les quatre, trouv&eacute; leurs sources dans l&rsquo;histoire de la musique de leur pays et dans les diff&eacute;rentes cultures qui ont &oelig;uvr&eacute; &agrave; la construction de leur patrimoine culturel. </span></p><br /></p></span><p><p align=justify><span class=Texte>Dans l&rsquo;introduction de son recueil pour guitare solo, Joaquin Rodrigo (1901-1999) d&eacute;clare que ses principales p&eacute;riodes d&rsquo;inspiration pour sa musique sont la Renaissance et la p&eacute;riode du XVIIIe si&egrave;cle, celle des clavecinistes. Il pr&eacute;cise avoir cr&eacute;&eacute; son propre style musical en s&rsquo;inspirant d&rsquo;abord de Gaspard Sanz, puis de Scarlatti et enfin de Soler pour &eacute;crire ses compositions, dont la plus c&eacute;l&egrave;bre : le concerto d&rsquo;Aranjuez pour guitare et orchestre, &oelig;uvre la plus jou&eacute;e au monde apr&egrave;s le Bol&eacute;ro de Maurice Ravel. </span><br /></p><span class=Texte><br /></span><p align=justify><span class=Texte>Luis Milan, compositeur et philosophe majeur de l&rsquo;Espagne, &eacute;tait un marrane (juif converti au christianisme). Il a &eacute;t&eacute; le fondateur de la musique instrumentale espagnole. Sa musique, d&eacute;crite dans le &laquo;&thinsp;Maestro&thinsp;&raquo;, son livre de musique (1536), est &eacute;crite ainsi : chant polyphonique &agrave; carrure fixe entrecoup&eacute; de gammes rapides et virtuoses, proc&eacute;d&eacute; utilis&eacute; plus tard dans le flamenco et dans la musique de Rodrigo.</span></p></p><br /><p align=justify><span class=Texte><p align=justify><p><span class=Texte>En 1987, Joaquin Rodrigo compose sa derni&egrave;re &oelig;uvre. Il s&rsquo;agit de : &laquo;&thinsp;Ecos de Sefarad&thinsp;&raquo; pour guitare solo. Cette &oelig;uvre est inspir&eacute;e d&rsquo;un chant S&eacute;farade du XIVe si&egrave;cle : La Rosa Enflorece.<br />Cette derni&egrave;re &oelig;uvre ferme la boucle, la premi&egrave;re de ses &oelig;uvres pour guitare &eacute;tant &laquo;&thinsp;la sarabande lointaine&thinsp;&raquo;, en hommage &agrave; Luis Milan. <br />La musique s&eacute;farade avait d&eacute;j&agrave; inspir&eacute; Joaquin Rodrigo lorsqu&rsquo;il composa 4 m&eacute;lodies espagnoles pour chant et piano.<br />D&rsquo;une mani&egrave;re &eacute;tonnante, c&rsquo;est en Turquie que l&rsquo;on trouve la grande tradition musicale s&eacute;farade (qui signifie espagnol en h&eacute;breu). En 1492, apr&egrave;s l&rsquo;expulsion des juifs et des arabes d&rsquo;Espagne, le patrimoine musical &eacute;migre &agrave; Istanbul.<br />Le mariage de Rodrigo avec la pianiste et chanteuse Victoria Kamhi, n&eacute;e &agrave; Istanbul, lui fait d&eacute;couvrir cette musique et une collaboration &eacute;troite pr&eacute;side &agrave; l&rsquo;&eacute;criture d&rsquo;&oelig;uvres m&ecirc;lant musique s&eacute;farade et textes chr&eacute;tiens dans les Villancicos ou les chansons espagnoles.<br />&Agrave; l&rsquo;&eacute;dition de ces &oelig;uvres, les pi&egrave;ces portent les signatures conjointes de Rodrigo et de Kamhi.</span></p><br /></p></span><span class=Texte>Federico Garcia Lorca (1898-1936) fit d&rsquo;abord des &eacute;tudes de droit et de musique avant de se tourner vers la litt&eacute;rature pour devenir le tr&egrave;s grand po&egrave;te et dramaturge de son temps. <br />De son enfance andalouse, il garde le souvenir des chants entendus chant&eacute;s et fredonn&eacute;s autour de lui. Plus tard il les red&eacute;couvre pendant ses tourn&eacute;es th&eacute;&acirc;trales. Ses amis sont impressionn&eacute;s par sa facilit&eacute; &agrave; reproduire soit au piano soit &agrave; la guitare ces chansons populaires parfois oubli&eacute;es.<br />Car Federico Garcia Lorca n&rsquo;a jamais oubli&eacute; sa passion pour la musique. Dans son po&egrave;me &laquo;Memento&raquo;, il demande &agrave; &ecirc;tre enterr&eacute; avec sa guitare. Inspir&eacute; par les mod&egrave;les du pass&eacute;, harmonisant des textes racontant des histoires anciennes, Federico Garcia Lorca recherche le chant exprimant l&rsquo;authenticit&eacute; de l&rsquo;Espagne.<br />Ce m&ecirc;me d&eacute;sir guide son ami Manuel de Falla (1876-1946) dans ses sept chansons populaires espagnoles : la recherche d&rsquo;authenticit&eacute;, de profondeur de l&rsquo;&acirc;me des liens avec une certaine forme d&rsquo;aust&eacute;rit&eacute;. <br />Les pi&egrave;ces d&rsquo;Enrique Granados (1867-1916) et d&rsquo;Isaac Alb&eacute;niz (1860-1909), &eacute;crites pour le piano, sont repr&eacute;sentatives du m&ecirc;me climat. <br />Dans &laquo;&thinsp;l&rsquo;Oriental&thinsp;&raquo;, des m&eacute;lismes encadrent ce qui semble &ecirc;tre la d&eacute;ploration de l&rsquo;Emir Boabdil pour la perte de Grenade. La m&egrave;re de Boabdil lui aurait dit : &laquo;&thinsp;tu pleures comme une femme ce que tu n&rsquo;as pas pu d&eacute;fendre comme un homme&thinsp;&raquo;.<br />Le nocturne &laquo;&thinsp;Cordoba&thinsp;&raquo; d&eacute;crit le passage d&rsquo;une nuit tranquille c&eacute;dant &agrave; l&rsquo;apparition soudaine du soleil qui inonde de clart&eacute; et de vie tr&eacute;pidante pour se terminer dans le calme de la tomb&eacute;e du jour.</span></p><br /><p><span class=Texte>Toutes ces compositions sont tr&egrave;s &eacute;loign&eacute;es des Zarzuelas qui expriment l&rsquo;Espagne d&rsquo;une fa&ccedil;on totalement diff&eacute;rente.</span></p><br /><p><span class=Texte>Le chant et la guitare s&rsquo;adressent directement &agrave; l&rsquo;&acirc;me espagnole en combinant les influences de la musique s&eacute;farade, des anciennes traditions et du flamenco. Le violoncelle, proche de la voix humaine se substitue &agrave; la partie chant&eacute;e, sans autre arrangement que la recherche de la tessiture id&eacute;ale.<br /></span><span class=Texte>&nbsp;</span></p><span class=Texte>&laquo;&thinsp;La guitare est la voix de l&rsquo;Espagne dans toutes les parties du monde&thinsp;&raquo; </span><br /><p><span class=Texte>Joaquin Rodrigo<br /></span><p align=justify><span class=Texte><span class=Soustitre>Viviane L&eacute;vy</span> s&rsquo;&eacute;panouit aussi bien &agrave; l&rsquo;orchestre qu&rsquo;en soliste. <span class=Texte>Imaginative et curieuse, elle participe &agrave; des manifestations originales m&ecirc;lant la dans (avec Nathalie Rique, danseuse &eacute;toile de l&rsquo;Op&eacute;ra de Paris), avec l&rsquo;ordinateur et l&rsquo;improvisation (avec Jean Poinsignon), sonates violoncelle et piano avec le pianiste canadien Daniel Cholette. Elle cr&eacute;e la sonate d&rsquo;Alb&eacute;ric Magnard aux rencontres d&rsquo;Arc-et-Senans.</span></span><br /></p><span class=Texte><span class=Texte><br />B&eacute;n&eacute;ficiant de l&rsquo;h&eacute;ritage de ses prestigieux ma&icirc;tres (Reine Flachot, Roger Albin et Thomas Demenga, Christophe Coin) elle assure la continuit&eacute; de leur enseignement passionn&eacute; en transmettant son amour de la musique par la direction de l&rsquo;&eacute;cole municipale de musique de Ludres, o&ugrave; elle enseigne aussi le violoncelle.<br /></span><br /></span><span class=Texte><span class=Soustitre>Fr&eacute;d&eacute;ric Ben Attar</span> joue avec le m&ecirc;me talent le th&eacute;orbe, le luth et les guitares (baroque, romantique et moderne).<br /><p align=justify><p><span class=Texte>Lors du Congr&egrave;s International des guitares de Paris de 1982, il joue sur la guitare Grobert, nouvellement restaur&eacute;e, ayant appartenu &agrave; Paganini puis Berlioz. <br />Salu&eacute; par la critique, le 1er enregistrement mondial des &eacute;tudes de Napol&eacute;on Coste qu&rsquo;il r&eacute;alise en 1996 cr&eacute;e l&rsquo;&eacute;v&egrave;nement sur les cha&icirc;nes de Radio France. Ce CD est devenu une r&eacute;f&eacute;rence dans le monde musical.<br />Il est invit&eacute; &agrave; la Nuit de la Guitare &agrave; l&rsquo;Olympia et dans de nombreux festivals.<br />Fr&eacute;d&eacute;ric Ben Attar s&rsquo;est form&eacute; aupr&egrave;s des plus grands ma&icirc;tres de la guitare (Alberto Ponce), du luth (Hopkinson Smith) et de la musique ancienne (Antoine Geoffroy Deschaumes).<br /></span></p></p></span><span class=Texte><span class=Soustitre>Le Duo L&eacute;vy Ben Attar</span> r&eacute;alise son premier enregistrement en 1992, pour l&rsquo;exposition Universelle de S&eacute;ville, commande de la R&eacute;gion Lorraine.<br />C&rsquo;est le point de d&eacute;part d&rsquo;une s&eacute;rie d&rsquo;enregistrements soit de cr&eacute;ations contemporaines, soit d&rsquo;&oelig;uvres red&eacute;couvertes soit de transcriptions.<br />Depuis plus de vingt ans, ce duo original explore le r&eacute;pertoire, toujours &agrave; la recherche de nouveaut&eacute;s et donne de nombreux concerts.<br /><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS</span></span></p><br /><p><br /><span class=Soustitre2>ECOS DE SEFARAD</span></p><span class=Texte>La música sefardita, al principio, fue un conjuto de canciones profanas que trataban de la vida cotidiana : canciones de amor, de viaje, de embriaguez, de contemplación de la naturaleza.</span><br /><p align=justify><span class=Texte><p align=justify><p><span class=Texte><br />La música suele ser modal (el modo andaluz) con melodías entrelazadas y ritmos que alternan binario y ternario y melopeas repetitivas y obsesivas que suenan a flamenco.</span></p><br /></p></span><span class=Texte>Jorge Linderman nació en Argentina en una familia de origen europea. Le inspiraron Bartok y Stravinsky y luego tambi&eacute;n Ligeti y Reich.<br />Compositor conocido en los EE.UU. su catalogo incluye óperas, música de orquesta, música de cámara tan como obras para instrumentos solos. Ha estudiado carrera de composición musical en la Rubin Academy of music de Jerusalem. Luego se convirtió en profesor en la Universidad de Berkeley. Arreglo a 46 canciones de la antología de los cantos judío-espa&ntilde;oles de Isaac Levy escritos para el dúo 46 (violín y guitarra). La primera tuvó lugar en Turquía delante de un publico que venia de Irak, Turquía, Irán. No deja de ser curioso que esas personas reconocieron esos cantos como suyos, formando parte de su herencia musical. Eso significa, sin dudo alguno, que este repertorio ha viajado por toda la cuenca mediterránea y se convirtió en un repertorio mundial. Las canciones de este disco fueron elegidas en parte porque ha sido posible hacer arreglos de tesitura para el violoncelo y la guitarra.<br />Los cuatro famosos compositores espa&ntilde;oles Joaquín Rodrigo, Isaac Albeniz, Manuel de Falla y Enrique Granados han sido la origen de la renovación de la música espa&ntilde;ola encontrando sus fuentes en la historia musical hispánica y en las corrientes diversas que componen a su patrimonio cultural.<br />En la introducción de su recopilación de piezas para guitarra sola, Joaquín Rodrigo (1901-1999) declara que los periodos que más inspiraron a su música fueron la del Renacimiento y el siglo XVIII &eacute;poca del clavicordio. A&ntilde;ade que su estilo musical se inspira, en primer lugar, de Gaspard Sanz, luego de Scarlatti y, por fín, de Soler para escribir sus composiciones. Se conoce al trabajo más conocido : El concierto de Aranjuez para guitarra y orquesta que sigue la obra más interpretada en el mundo detrás del Bolero de Ravel.<br />Luís Milán, compositor y filósofo espa&ntilde;ol era un &ldquo;marrano&rdquo; (judío convertido). Fue el iniciador de la música instrumental espa&ntilde;ola. Su música, que describe &eacute;l mismo en su libro de música &ldquo;El maestro&rdquo;&nbsp; (1536) es : canto polifónico con estructura fija intercalado con notas rápidas. Esto se encontrara tambi&eacute;n luego en el flamenco y en la música de Rodrigo. <br />En el a&ntilde;o 1987 Joaquín Rodrigo compusó su ultima obra : &ldquo;Ecos de Sefarad&rdquo; para guitarra sola. La fuente de su inspiración se encuentra en un canto sefardita del siglo XVI llamado &ldquo;La Rosa enflorece&rdquo;. Con esta obra se riza el rizo ya que su primera obra, para guitarra sola tambi&eacute;n, era &ldquo;Zarabanda lejana&rdquo; homenaje a Luís Milán. Ya se había inspirado de la música sefardita cuando había compuesto cuatro melodías espa&ntilde;olas para canto y piano. <br />No deja de ser curioso que la grán tradición musical sefardita se encuentra en Turquía. En 1492 despu&eacute;s de la expulsión de los judíos y, luego, de los musulmanes de Espa&ntilde;a, el patrimonio musical se traslada en Estambul. Cuando Rodrigo se casa con la pianista y cantante Victoria Kamhi que nació allí, descubre esta música y empiezan una colaboración estrecha que inicia la composición de obras que van a mezclar música sefardita y textos cristianos dentro de Villancicos o de canciones espa&ntilde;olas. Las firman juntos: Rodrigo y Kamhi.<br />Federico Garcia Lorca (1898-1936) estudió letras, filosofía, derecho y música en Granada y Madrid antes de convertirse en uno de los más importantes poetas y dramaturgos de su &eacute;poca. Los recuerdos de las canciones populares de su infancia en Andalucía fueron fuente de su obra. Nunca olvido su pasión por la música. Muy a menudo se asombraron sus amigos al oírle tocarlas en el piano o la guitarra. En &ldquo;Memento&rdquo; pide reposar al lado de su guitarra. Buscaba el canto que más podía expresar a una Espa&ntilde;a aut&eacute;ntica inspirándose de antiguas historias.</span></p><br /><p><span class=Texte>Este mismo deseo lo tenia su amigo Manuel de Falla (1876-1946) con sus siete canciones populares espa&ntilde;olas.</span></p><p align=justify><br /><p><span class=Texte>Las piezas de Granados (1867- 1916) y de Albeniz (1860-1909) escritas para el piano son representativas de la misma preocupación. En &ldquo;El oriental&rdquo; melismas sost&eacute;nen lo que se parece al llanto de Boabdil contemplando a Granada que acababa de perder. Su madre le hubiera dicho : &ldquo;No llores como una mujer lo que no supiste defender como un hombre !&rdquo;.<br /></span></p></p><span class=Texte>El nocturno &ldquo;Córdoba&rdquo; describe una noche tranquila, el amanecer que sigue con un sol que va estallando de luz y de vida y un atardecer de calma y paz.<br /><p align=justify><span class=Texte>Todas estas obras se encuentran muy alejadas de las zarzuelas. Aquí el canto y la guitarra mezclan influencias sefarditas y tradiciones antiguas del flamenco para hablar al alma espa&ntilde;ola. El violoncelo se sustituye a la voz humana sin más arreglos que buscar la tesitura que suena mejor.<br /></span><br /><p><span class=Texte>&ldquo;La guitarra es la voz de Espa&ntilde;a por todas partes del mundo.&rdquo; Joaquín Rodrigo</span></p><br /></p></span><p align=justify><span class=Texte><span class=Soustitre>Viviane Levy</span> florece en la orquesta pero tambi&eacute;n como solista. Forma parte de creaciones originales que mezclan el baíle (con Nathalie Rique, bailadora del Opera de Paris), la informática y la improvisación (con Jean Poinsignon) con creatividad y curiosidad. Tocó sonatas para violoncelo y piano con el pianista canadiense Daniel Cholette. Ha creado la sonata de Alberic Magnard durante los encuentros de Arc-et-Senan. Sigue transmitiendo la herencia de sus maestros (Reine Flachot, Roger Albin y Thomas Demenga) y el amor por la música siendo directora de la Escuela municipal de música de Ludres donde ense&ntilde;a el violoncelo.<br /><span class=Soustitre>Fr&eacute;d&eacute;ric Ben Attar</span> toca el tiorba, laúd y guitarras (barroca, romántica y moderna) con el mismo talento. Durante el Congreso Internacional de Paris que se celebró en 1982, ha tocado con la guitarra Grobert que había sido restaurada y que había pertenecido a paganini y Berlioz. La primera grabación mundial de los estudios para guitarra de Napoleón Coste que realizó en 1996 es una referencia en el mundo musical. Fue invitado a la Noche de la guitarra en el Olympia de Paris así como en numerosos festivales. Fr&eacute;d&eacute;ric Ben Attar estudió con los más famosos maestros de su &eacute;poca : la guitarra con Alberto Ponce, el laúd con Hopkinson Smith y la música antigua con Antoine Geoffroy Deschaumes.<br /><span class=Soustitre>El duo L&eacute;vy-Ben Attar</span> hizó su primera grabación para la exposición universal de Sevilla que se celebró en el a&ntilde;o 1992. Esta grabación fue una petición de la Region Lorraine (provincia de Lorraine). Fue el primer paso de grabaciones con creaciones de obras contemporáneas, transcripciones o descubrimientos de obras olvidadas. Desde más de veinte a&ntilde;os, esta pareja original sigue su búsqueda de novedades y da numerosos conciertos.</span></p><p><span class=Texte>Traduction :&nbsp; <strong>Jacqueline QUESADA<br /></strong><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS</span></span></p><br /><p><br /><span class=Soustitre2>ECOS DE SEFARAD</span><span class=Texte><br /></span><p align=justify><span class=Texte>What can we say about Sephardic (Spanish) music of the late 15th century?</span><br /><span class=Texte>In its original form, this music consisted of secular songs about people&rsquo;s everyday lives: songs of love, travel, drinking, and the contemplation of nature.</span><br /><span class=Texte>The music is often modal (in the Andalusian mode), with intertwining melodies that alternate ternary and binary rhythms, and repetitive and haunting tunes, like the flamenco.<br /></span><br /><span class=Texte>Jorge Liderman (1957-2008) was born in Argentina to a European immigrant family. He found early inspiration in the works of Bartok and Stravinsky, then later Ligeti and Reich. A well-known composer in the United States, his catalogue contains opera, orchestral and chamber music, as well as works for solo instruments. After studying composition at the Rubin Academy of Music in Jerusalem, Jorge Liderman, originally a guitarist, became Professor of Composition at Berkeley University.&nbsp; </span><br /></p><p align=justify><span class=Texte>In 2004, Liderman arranged 46 songs, selected from Isaac Levy&rsquo;s Judeo-Spanish anthology, for the Duo46 (violin and guitar). At the world premiere in Turkey, the audience included many people from neighbouring counties such as Iran and Iraq. Remarkably all these people were able to identify this music as part of their own cultural heritage. It is fascinating to learn that this repertoire has travelled throughout the Mediterranean region to become true world music. The songs played in this album lend themselves particularly well to the change of pitch for cello and guitar, with modifications that fully allow the voice of the cello to express its generosity and lyricism.</span><br /></p><p align=justify><span class=Texte>The four famous Spanish composers Joaquin Rodrigo, Isaac Albeniz, Manuel de Falla and Enrique Granados were instigators of the revival of their national music. The four of them found their sources in their country&rsquo;s musical heritage and the different cultures that contributed to it.</span><br /></p><p align=justify><span class=Texte>In the introduction of his book for solo guitar, Joaquin Rodrigo (1901-1999) says that his favourite periods are the Renaissance and the 18th century. He states that he found his inspiration first in Gaspard Sanz&rsquo;s music, then in Scarlatti&rsquo;s and Soler&rsquo;s to create his own musical style, which he used in his &ldquo;Concerto d&rsquo;Aranjuez&rdquo; for guitar and orchestra, the most played piece in the world after Ravel&rsquo;s Bolero.</span><br /></p><p align=justify><span class=Texte>Luis Milan, Spanish composer and philosopher, was a Marranos (converted Jew). He was the founder of Spanish instrumental music. His book &ldquo;The Maestro&rdquo; (1536) explains the principles of his music: polyphonic melodies with phrases of fixed length are interspersed with rapid virtuosic scales, a structure utilised later in flamenco and in Rodrigo&rsquo;s music.</span><br /><span class=Texte>Joaquin Rodrigo wrote his last work in 1987: &ldquo;Ecos de Sefarad&rdquo; for solo guitar. This piece of work finds its inspiration in the 14th century&rsquo;s Sephardic song called La Rosa Enflorece. This last work closes the loop, as his first piece for solo guitar, &ldquo;Sarabanda Lejana&rdquo;, payed homage to the composer Luis Milan. Sephardic music had already inspired Joaquin Rodrigo when he wrote four Spanish melodies for voice and piano.</span><br /></p><p align=justify><span class=Texte>It is perhaps surprising that the finest Sephardic (which means &ldquo;Spanish&rdquo; in Hebrew) musical tradition should be found in Turkey. In 1492, after the deportation of Jews and Arabs from Spain, the musical heritage migrated to Istanbul. Through his marriage to the Turkish pianist and singer Victoria Kamhi, born in Istanbul, Joaquin Rodrigo discovered this music and they worked closely together to compose works mixing Sephardic music and Christian texts in the Villancicos and Spanish Songs. Joaquin Rodrigo and Victoria Kamhi co-signed these two pieces.&nbsp; </span><br /><p align=justify><p align=justify><span class=Texte>Federico Garcia Lorca (1898-1936) first studied law and music before turning towards literature. He became one of the greatest poets and dramatists of his time.</span><br /><span class=Texte>From his Andalusian childhood, he retained the memory of the melodies sung and hummed around him. Later, he rediscovered them while touring with his theatre company. His friends were impressed by his ease at reproducing these forgotten popular songs on the guitar or the piano. </span><br /></p><p align=justify><span class=Texte>Indeed Federico Garcia Lorca never forgot his passion for music. In his poem &ldquo;Memento&rdquo;, he asks to be buried with his guitar. Inspired by models of the past, setting ancient texts to music, Federico Garcia Lorca sought to express Spanish authenticity into song. </span><br /><span class=Texte>The same desire guided his friend Manuel de Falla (1876-1946) when he composed his Seven Spanish Songs: a quest for authenticity, depth of feeling and links to a certain form of austerity.</span><br /></p><span class=Texte>Granados (1867-1916) and Albeniz&rsquo;s (1860-1909) works for the piano are representative of the same circle of ideas.<br /></span><p align=justify><span class=Texte>In the &ldquo;Oriental&rdquo;, melismas surround what seems to be the Emir Baobdil&rsquo;s lamentation for the loss of Granada. It is said that Baobdil&rsquo;s mother told him: &ldquo;You lament like a woman what you should have defended like a man&rdquo;.</span><br /><span class=Texte>The nocturne &ldquo;Cordoba&rdquo; describes how the stillness of the night gives way to the sudden appearance of the sun flooding with light and busy life, before returning to the quiet of the end of the day. </span><br /><span class=Texte>All those works are far removed from the &ldquo;Zarzuelas&rdquo;, which express the Spanish spirit in a radically different way.</span><br /><span class=Texte>The combination of guitar and voice speaks directly to the Spanish soul, merging the influences of Sephardic music, traditional song and flamenco. Here the cello, so close to the human voice, takes the vocal line with no arrangement needed apart from a change of pitch to accommodate the range of the instrument.</span><br /></p><span class=Texte>&ldquo;The guitar is the voice of Spain in all parts of the world.&rdquo; Joaquin Rodrigo<br />Traduction: <strong>Viviane L&eacute;vy <br /></strong><span class=Source>&copy; FRÉMEAUX &amp; ASSOCIÉS</span></span></p><br /><p><p align=justify><br /></p><p><p align=justify><span class=Texte>Quelle est donc cette musique s&eacute;farade (espagnole) de la fin du XVe si&egrave;cle ? Au d&eacute;part, ce sont des chansons profanes racontant la vie des gens de tous les jours : chansons d&rsquo;amour, de voyage, d&rsquo;ivresse, de contemplation de la nature. La musique est volontiers modale (mode andalou) avec des m&eacute;lodies entrecrois&eacute;es et des rythmiques alternant ternaire et binaire et des m&eacute;lop&eacute;es r&eacute;p&eacute;titives et obs&eacute;dantes, &agrave; l&rsquo;image du flamenco. </span><br /></p><span class=Texte><strong>Agn&egrave;s Abiton<br /></strong></span><p align=justify><span class=Texte>What can we say about Sephardic (Spanish) music of the late 15th century? In its original form, this music consisted of secular songs about people&rsquo;s everyday lives: songs of love, travel, drinking, and the contemplation of nature. The music is often modal (in the Andalusian mode), with intertwining melodies that alternate ternary and binary rhythms, and repetitive and haunting tunes, like the flamenco.</span><br /></p><p align=justify><span class=Texte>La música sefardita, al principio, fue une conjuto de canciones profanas que trataban de la vida cotidiana : canciones de amor, de viaje, de embriaguez, de contemplación de la naturaleza. La música suele ser modal (el modo andaluz) con melodías entrelazadas y ritmos que alternan binario y ternario y melopeas repetitivas y obsesivas que suenan a flamenco. </span></p></p><span class=Source>CD Ecos de Sefarad, &OElig;uvres pour guitare et violoncelle de r&eacute;pertoire jud&eacute;o-espagnol, Viviane L&eacute;vy et Fr&eacute;d&eacute;ric Ben Attard &copy; Fr&eacute;meaux &amp; Associ&eacute;s 2014.</span><br /></p></p></p>"
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      "dwf_livret" => "<h3>FA8568 Gefilte swing</h3><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2><br /></span></p><p align=justify><span class=Soustitre2>Gefilte Swing<br />&nbsp;- Klez N&rsquo;ZAZOU&nbsp;</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>Musique virevoltante, tant m&eacute;lancolique que festive, n&eacute;e dans la communaut&eacute; ashk&eacute;naze d&rsquo;Europe de l&rsquo;Est, le klezmer retrouve ici la moiteur des swing-clubs du Harlem de la Grande D&eacute;pression. Emmen&eacute;s par Alexandre Litwak, les Gefilte Swing proposent un jazz festif aux confins des musiques du monde, avec des incursions pop. Ils empruntent aux Zazous leur d&eacute;sinvolture nonchalante, le d&eacute;sir de vivre, quoi qu&rsquo;il en co&ucirc;te, de swing et d&rsquo;eau fra&icirc;che. En d&eacute;coule une musique h&eacute;doniste, g&eacute;n&eacute;reuse et revigorante. Comme l&rsquo;avait fait Carte de S&eacute;jour dans les ann&eacute;es 1980, ils offrent leur version de &laquo;&thinsp;Douce France&thinsp;&raquo;, &eacute;crite par Charles Trenet pendant la guerre, reprise ici en yiddish.&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><strong><span class=Texte>Augustin Bondoux / Patrick Fr&eacute;meaux</span></strong></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>The whirling twisting music form known as Klezmer, which originated among the Ashkenazi Jews of Eastern Europe, can have a sad or festive climate. Here it has all the sweat of a swing club in Harlem during the Depression, as the Gefilte Swing band, led by Alexandre Litwak, plays its own festive brand of jazz that borders on world music, with occasional forays into the world of pop. They nonchalantly borrow from the zoot-suit subculture with a shameless desire to live for swing and the result is hedonistic, generous and invigorating. And like the Carte De S&eacute;jour group in the 80&rsquo;s, they also have their own version of Douce France, which Charles Trenet wrote during the war, only this time it&rsquo;s sung in Yiddish&hellip;&nbsp;&nbsp;&nbsp; <br /></span></p><p align=justify><strong><span class=Texte>Augustin Bondoux / Patrick Fr&eacute;meaux</span></strong></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Texte>&#8199;1. Le Poste parisien vous annonce&hellip; 0&rsquo;43<br />&#8199;2. Frankraykh Mayn [Douce France] (Charles Trenet - L&eacute;o Chauliac &ndash; 1943 &copy; Editions Salabert - adaptation en Yiddish par Yitskhok Niborski) 3&rsquo;05<br />&#8199;3. Benny&rsquo;s Freilach [Nifty&rsquo;s Freilach] (Naftule Brandwein) 4&rsquo;19<br />&#8199;4. Freilach &agrave; la Litwak [Shtiller Bulgar - and the Angels Sing]&nbsp; (Traditionnel &ndash; Ziggy Elman &amp; Johnny Mercer) 3&rsquo;12<br />&#8199;5. Du Shaynts Vi Di Zin (Ilia Triling &amp; Lilian Isador &ndash; 1943) 3&rsquo;27<br />&#8199;6. Lebedik un Freilach (Louis Gilrod &amp; Perez Sandler - 1926) 3&rsquo;31<br />&#8199;7. Mitsve Tentsl &amp; Bughici Freylakhs (traditionnel) 4&rsquo;24<br />&#8199;8. Yid Meets Goy [Freilach Yidalach] (traditionnel) 4&rsquo;48<br />&#8199;9. Mashav (John Zorn) 4&rsquo;55<br />10. Mayn Swingin&rsquo; Tate [A Yiddish Mame] (Lew Pollack -1925) 2&rsquo;47<br />11. Yid Un Goy Fantasy [Oriental Hora &amp; Freilach] (traditionnel) 4&rsquo;14<br />12. Tchiribim, Tchiribom (Traditionnel) 6&rsquo;18<br />13. Al Capone (Jacques Grober) 3&rsquo;29<br /></span><span class=Soustitre>L&rsquo;aventure continue !</span><span class=Texte><br />Six ans se sont &eacute;coul&eacute;s depuis notre dernier cd. De nombreux musiciens sont pass&eacute;s par notre orchestre, la grande majorit&eacute; d&rsquo;entre eux en sont repartis, mais tous ont apport&eacute; un petit quelque chose dont nous avons pu b&eacute;n&eacute;ficier.<br />2012-2018, il &eacute;tait temps de faire un nouveau cd. Le son, le style avaient &eacute;volu&eacute;, les nouveaux venus ayant aussi apport&eacute; une nouvelle rigueur, fraicheur, &eacute;coute et des id&eacute;es.<br /></span><span class=Soustitre>Gefilte Swing &amp; Cie</span><span class=Texte><br />Les deux cd pr&eacute;c&eacute;dents ne comportaient que les membres de l&rsquo;orchestre. Pour celui-ci, j&rsquo;ai voulu, pour une fois, y convier des musiciens dont j&rsquo;appr&eacute;cie autant la compagnie que le talent, qu&rsquo;ils soient influenc&eacute;s par le swing, le rock n&rsquo;roll, le klezmer ou la musique classique.<br />C&rsquo;est pourquoi ces enregistrements m&ecirc;lent d&rsquo;anciens membres du groupe et des musiciens avec lesquels je travaille pour la premi&egrave;re fois.<br />L&rsquo;id&eacute;e est de pr&eacute;senter des morceaux dans des sonorit&eacute;s et formules diff&eacute;rentes, du trio au bigband en passant par l&rsquo;orchestre r&eacute;gulier.<br /></span><span class=Soustitre>Hommage sans dommage</span><span class=Texte><br />Mais ce cd est aussi un hommage &agrave; mon p&egrave;re, d&eacute;c&eacute;d&eacute; en juin 2017. Lui, qui bien que totalement &eacute;loign&eacute; de tout travail de musicien, n&rsquo;a cess&eacute; de m&rsquo;aider, de me soutenir et de m&rsquo;encourager dans l&rsquo;ensemble de mes d&eacute;marches musicales. S&rsquo;enthousiasmant &agrave; chaque fois que je lui annon&ccedil;ais un concert, un &eacute;v&eacute;nement priv&eacute; ou un festival auquel le Gefilte Swing participait. Tout comme il &eacute;tait fier que cet orchestre que j&rsquo;ai fond&eacute; en 1999 f&ucirc;t toujours actif. Cette volont&eacute; qui est mienne, de continuer &agrave; porter cet ensemble, malgr&eacute; les al&eacute;as in&eacute;vitables de la vie.<br />Quant au choix des morceaux, je cherchais de sonorit&eacute;s proches de celles que mon p&egrave;re avait entendues, aim&eacute;es, des ambiances qu&rsquo;il m&rsquo;avait transmises avec &eacute;clat et qu&rsquo;il fallait restituer, sans craindre d&rsquo;y ajouter d&rsquo;autres sons. <br />Enfin, je dois dire que ces sessions d&rsquo;enregistrements ont &eacute;t&eacute; sujet &agrave; de belles rencontres, entre personnes qui se connaissaient ou pas, ou qui ne s&rsquo;&eacute;taient pas vues depuis forts longtemps<br /></span><span class=Soustitre>Alexandre Litwak</span><span class=Texte>, Paris, Juin 2018.<br />PS : L&rsquo;orthographe translit&eacute;r&eacute;e des titres des morceaux est celle qu&rsquo;utilisent les Litvak&hellip; Cela allait de soit !<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Frankraykh Mayn</span><span class=Texte><br />[Douce France] (Charles Trenet - L&eacute;o Chauliac &ndash; 1943 adaptation en Yiddish par Yitskhok Niborski)&thinsp;: Arrangements : Alexandre Litwak. <br />Muriel Missirlou : Chant &ndash; Michel Bonnet &amp; Shona Taylor : Trompette &ndash; Jean-Pierre Dumontier : Trombone &ndash; Franck S&eacute;guy, Laure Berthaume &amp; Alexandre Litwak : Clarinette &ndash; &laquo;&thinsp;Jopo&thinsp;&raquo; : Piano - Rapha&euml;l Ducasse : Contrebasse &ndash; Cl&eacute;ment Moraux : Batterie.<br />En 1942, Ren&eacute;e Lebas, n&eacute;e en France mais d&rsquo;origine juive roumaine, se r&eacute;fugie en Suisse o&ugrave; elle enregistre &laquo;&thinsp;De l&rsquo;autre cot&eacute; de la rue&thinsp;&raquo;. C&rsquo;est elle qui en 1945 cr&eacute;&eacute; &laquo;&thinsp;La Mer&thinsp;&raquo; de Charles Trenet Mais durant son s&eacute;jour en Suisse, elle a peut-&ecirc;tre enregistr&eacute; &laquo;&thinsp;Douce France&thinsp;&raquo; dans la langue que devait pratiquer ses parents.<br />L&rsquo;improvisation collective qui figure dans cet enregistrement est conduite par Michel Bonnet &agrave; la trompette, contre-chant&eacute;e par Franck S&eacute;guy &agrave; la clarinette et soutenue par Jean-Pierre Dumontier au trombone. Quand au couplet d&rsquo;introduction, c&rsquo;est un agr&eacute;able moment de complicit&eacute; entre &laquo;&thinsp;Jopo&thinsp;&raquo; au piano et Alexandre Litwak.<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Benny&rsquo;s Freilach</span><span class=Texte><br />[Nifty&rsquo;s Freilach] (Naftule Brandwein). Arrangements : Alexandre Litwak<br />Laurent Vassort : Trompette &ndash; Alexandre Litwak : Clarinette &amp; arrangement &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />&laquo;&thinsp;Nifty&thinsp;&raquo; &eacute;tait le surnom du clarinettiste am&eacute;&shy;ricain, n&eacute; en Galicie autrichienne, Naftule Brandwein (1889-1963). Il fut l&rsquo;un des principaux clarinettistes klezmer qui influen&ccedil;a nombre de klezmorim de la nouvelle g&eacute;n&eacute;ra-<br />tion, tant par ses compositions que par son jeu. Il enregistra ce morceau, tr&egrave;s peu jou&eacute; de nos jours, en 1941.<br />Imaginons le jeune Benjamin Goodman, futur Benny Goodman, rempla&ccedil;ant, avec ses potes, pour un mariage le clarinettiste klezmer Naftule Brandwein... Aussi, la composition de Naftule Brandwein, &laquo;&thinsp;Nifty&rsquo;s Freilach&thinsp;&raquo; aurait pu s&rsquo;appeler &laquo;&thinsp;Benny&rsquo;s Freilach&thinsp;&raquo; pour l&rsquo;occasion.<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Freilach &agrave; la Litwak</span><span class=Texte><br />[Shtiller Bulgar - And The Angels Sing] (Traditionnel &ndash; Ziggy Elman &amp; Johnny Mercer). Arrangements : Alexandre Litwak<br />Les &laquo;&thinsp;Gefilte Swingsisters&thinsp;&raquo; : Muriel Missirlou, M&eacute;lanie Gardyn, Judith Marx (Chant) - Alexandre Litwak, Laure Berthaume &amp; Franck S&eacute;guy : Clarinette - Jean-Pierre Dumontier : Piano - Rapha&euml;l Ducasse : Contrebasse - David Eleouet : Batterie.<br />A la base, ce morceau qui s&rsquo;intitule Der Shtiller Bulgar est un morceau klezmer traditionnel, dont le premier enregistrement a &eacute;t&eacute; enregistr&eacute; &agrave; New York en 1918 par Abe Schwartz et son orchestre. En 1938, le trom&shy;pettiste &laquo;&thinsp;Ziggy&thinsp;&raquo; Elman (n&eacute; Harry Finkelman) se sert de la trame musicale des deux pre&shy;miers th&egrave;mes pour en faire un standard swing, tout en conservant un cot&eacute; &laquo;&thinsp;klezmer&thinsp;&raquo; : le morceau s&rsquo;appelle alors Frailich in swing. Plus tard le parolier Johnny Mercer compose des paroles et le titre devient And The Angels Sing. Le premier enregistrement eut lieu la m&ecirc;me ann&eacute;e avec l&rsquo;orchestre de Benny Goodman, chant&eacute; par Martha Tilton et mettant en vedette Ziggy Elman.<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>{mospagebreak}{mospagebreak}Du Shaynts Vi Di Zin</span><span class=Texte><br />(Ilia Triling &amp; Lilian Isador &ndash; 1943): Arrangement : Gefilte Swing<br />Muriel Missirlou: Chant - David Konopnicki : Guitare &eacute;lectrique - Laurent Vassort : Trompette &amp; ch&oelig;ur &ndash; Alexandre Litwak : Saxophone alto &amp; ch&oelig;ur &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />Compos&eacute; en 1941 pour la com&eacute;die musicale yiddish am&eacute;ricaine Leb un lakh (Vivre et rire)<br />Qui de nous a eu l&rsquo;id&eacute;e d&rsquo;en faire une version &laquo;&thinsp;reggae&thinsp;&raquo; ? S&ucirc;rement pas moi ! L&agrave; aussi, chacun a trouv&eacute; sa place : Muriel nous a insuffl&eacute; les ch&oelig;urs, Pascal Fabry a trouv&eacute; sa propre voix de tuba et la pr&eacute;sence de David Konopnicki nous a permis de rajouter une touche de guitare &eacute;lectrique. Et qui affirme que yiddish et reggae ne peuvent pas se marier ? Vous constaterez par vous-m&ecirc;me !<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Lebedik un Freilach</span><span class=Texte><br />(Louis Gilrod &amp; Perez Sandler - 1926). Arrangement : Alexandre Litwak<br />David Konopnicki : Guitare &eacute;lectrique - Laurent Vassort&thinsp;: Trompette &ndash; Alexandre Litwak : Saxophone alto &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />Compos&eacute;e en 1926 sur la base d&rsquo;une m&eacute;lodie populaire pour une com&eacute;die musicale yiddish o&ugrave; figurait le c&eacute;l&egrave;bre t&eacute;nor et acteur Aaron Lebedeff qui l&rsquo;enregistra la m&ecirc;me ann&eacute;e. Une version plus dynamique et tota&shy;lement instru&shy;mentale fut enregistr&eacute;e par l&rsquo;orchestre d&rsquo;Abe Schwartz en 1928.<br />&laquo;&thinsp;Vif et heureux&thinsp;&raquo;... Voil&agrave; ce que veut dire le titre de ce morceau... N&rsquo;&eacute;tait-ce pas l&agrave; l&rsquo;occasion d&rsquo;inviter David Konopnicki, guitariste &eacute;lec&shy;trique et &eacute;clectique ? Fondateur du groupe &laquo;&thinsp;AutorYno&thinsp;&raquo; qui fusionne les musiques klezmer et le rock n&rsquo;roll.<br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Mitsve Tentsl &amp; Bughici Freylakhs</span><span class=Texte><br />(Trad.) Arrangement Alexandre Litwak / Gefilte Swing <br />Laurent Vassort : Trompette &ndash; Alexandre Litwak : Saxophone alto &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry&thinsp;: Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />Suite musicale en deux parties, l&rsquo;une en tempo mod&eacute;r&eacute;, l&rsquo;autre en rapide. <br />Cette suite a &eacute;t&eacute; enregistr&eacute;e et mise en valeur par le groupe Budowitz, arrang&eacute;e par le cymbaliste et accord&eacute;oniste Joshua Horowitz, dans leur cd &laquo;&thinsp;Wedding without a bride&thinsp;&raquo;.<br />La premi&egrave;re partie provient d&rsquo;un livre publi&eacute; &agrave; New York en 1916 par Kostakowsky : &laquo;&thinsp;Inter&shy;national Hebrew Wedding Music&thinsp;&raquo;. Ouvrage contenant les musiques juives jou&eacute;es &agrave; ce moment l&agrave; dans les mariages.<br />Quant &agrave; la deuxi&egrave;me partie de cette suite, le premier th&egrave;me vient du r&eacute;pertoire d&rsquo;un des derniers grands violonistes klezmer roumain, Avram Bughici qui enregistra dans les ann&eacute;es 70. Les deux derniers th&egrave;mes de cette partie ont &eacute;t&eacute; emprunt&eacute;s &agrave; un enregistrement de l&rsquo;orchestre d&rsquo;Harry Kandel qui se nomme Dus Zekele Geld [Le sac d&rsquo;or]<br />Nous avons utilis&eacute; leur version comme base musicale, mais avons chang&eacute; certaines suites harmoniques, compos&eacute; une introduction et un interlude qui permettaient d&rsquo;amener la deuxi&egrave;me partie. Chacun a su trouver sa place en fonction de ce qui devait se passer : les expos&eacute;s des th&egrave;mes &eacute;taient r&eacute;partis entre nous, ainsi que les moments d&rsquo;improvisations.<br />Je voulais retrouver l&rsquo;esprit des jazzmen du mouvement &laquo;&thinsp;West Coast&thinsp;&raquo;, o&ugrave; la trompette ne joue pas automatiquement la premi&egrave;re voix, o&ugrave; la sonorit&eacute; du saxophone alto pouvait &ecirc;tre feutr&eacute;e et o&ugrave; les unissons &eacute;taient fr&eacute;quents, tout en gardant un cot&eacute; &laquo;&thinsp;traditionnel&thinsp;&raquo; au sein de la rythmique. Mais apr&egrave;s tout, Herv&eacute; Roten, ethnomusicologue fran&ccedil;ais, sp&eacute;cialiste des musi&shy;ques juives, n&rsquo;a-t-il pas dit que &laquo;&thinsp;la musi&shy;que klezmer est une musique de mariage ?&thinsp;&raquo;.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Yid Meets Goy</span><span class=Texte><br />[Freilach Yidalach] (traditionnel). Arrangement : Alexandre Litwak<br />Alexandre Litwak : Clarinette &ndash; Wilfried Touati : Accord&eacute;on &ndash; Cl&eacute;ment Moraux : Batterie.<br />Dans les ann&eacute;es 30 Benny Goodman avait mont&eacute; un trio compos&eacute; de lui-m&ecirc;me et d&rsquo;un pianiste noir, Teddy Wilson et d&rsquo;un batteur, Gene Krupa. De m&ecirc;me, Dave Tarras, clarinettiste klezmer jouait lui aussi r&eacute;guli&egrave;rement en trio : clarinette, accord&eacute;on et batterie. <br />L&rsquo;une des compositions de Benny Goodman est Boy Meets Goy. Je me suis amus&eacute; &agrave; prendre un &laquo;&thinsp;standard&thinsp;&raquo; de la musique klezmer, Freilach yidalach, popularis&eacute; par Dave Tarras et &agrave; le jouer en trio &laquo;&thinsp;&agrave; la Tarras&thinsp;&raquo; mais avec les &laquo;&thinsp;petits plus&thinsp;&raquo; que le trio de Benny Goodman apportait (Introduction, passages arrang&eacute;s, riff, soli&hellip;). <br /></span></p><p align=justify><span class=Soustitre><br /></span></p><p align=justify><span class=Soustitre>Mashav</span><span class=Texte><br />(John Zorn) Arrangement : Alexandre Litwak<br />Michel Bonnet : Cornet - Alexandre Litwak : Clarinette &ndash; Jean-Pierre Dumontier : Piano &ndash; David El&eacute;ouet : Batterie.<br />Sorti en 1996, sous le label Tsadik, cr&eacute;&eacute; par le saxophoniste et compositeur John Zorn, l&rsquo;album Bar Kokhba comprenait une version de Mahshav jou&eacute; par le clarinettiste David Krakauer en compagnie du pianiste Anthony Coleman.<br />Gr&acirc;ce &agrave; l&rsquo;&eacute;coute attentive de Lise Gutmann et d&rsquo;Henri Belasiak, tous deux membres actifs du Centre Medem, o&ugrave; la culture yiddish y est transmise sous toutes ses formes, je d&eacute;couvrais que Jhon Zorg s&rsquo;&eacute;tait empar&eacute; des deux premi&egrave;res mesures d&rsquo;une chanson populaire ouvri&egrave;re de Morris Winchefsky (1856-1932) : Di Tsukunkt (l&rsquo;Avenir) pour cr&eacute;er sa propre composition.<br />Dans une interview parue dans Les cahiers yiddish, le clarinettiste David Krakauer &eacute;tait interview&eacute; par Claude Hampel, Directeur de la publication. Sur la question des influences que le clarinettiste avait re&ccedil;ues, Claude Hampel sugg&eacute;rait que le clarinettiste juif, jazzman, Benny Goodman l&rsquo;avait sans doute influenc&eacute;. David Krakauer r&eacute;pondit que &laquo;&thinsp;oui, il avait beaucoup d&rsquo;estime pour Benny Goodman mais que sa principale influence fut le clarinettiste noir am&eacute;ricain Sidney Bechet&thinsp;&raquo;.<br />Nul ne peut prendre la place d&rsquo;un Sidney Bechet et reproduire sa sonorit&eacute; unique &agrave; la clarinette. Nous avons juste essay&eacute; ici de nous approprier l&rsquo;esprit des petites formations des ann&eacute;es 40 dans lesquelles Sidney Bechet avait pu jouer, avec la question &laquo;&thinsp;qu&rsquo;aurait fait le fameux duo Bechet-Spanier, cornettiste au style New-Orleans, si leur avait &eacute;t&eacute; propos&eacute; au d&eacute;bott&eacute; d&rsquo;enregistrer Mahsav ?&thinsp;&raquo;</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Ikh Zing</span><span class=Texte><br />(Abe Elstein &amp; Molly Picon &ndash; 1938) : Arrangement : Alexandre Litwak<br />Muriel Missirlou : Chant &ndash; Laurent Vassort : Trompette &ndash; Alexandre Litwak : Clarinette &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />Ikh Zing est une chanson &eacute;crite par le compositeur Abe Elstein en 1938 pour le film &laquo;&thinsp;Mamele&thinsp;&raquo; dans lequel figurait la vedette <br />yiddish Molly Picon. Mon choix s&rsquo;est port&eacute; sur cette chanson car la trame m&eacute;lodique et les harmonies tranchent v&eacute;ritablement avec les autres chansons yiddish am&eacute;ricaines de cette p&eacute;riode et &eacute;voquent les chansons de vari&eacute;t&eacute;s que l&rsquo;on pouvait entendre en France durant la m&ecirc;me &eacute;poque. Notre chanteuse nous offre une rare interpr&eacute;tation o&ugrave; le couplet est jou&eacute; &laquo;&thinsp;a tempo&thinsp;&raquo; et non rubato, comme on peut l&rsquo;entendre g&eacute;n&eacute;ralement. <br /></span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Mayn Swingin&rsquo; Tate</span><span class=Texte><br />[A Yiddish Mame] (Lew Pollack -1925). Arrangement : Alexandre Litwak<br />Laurent Vassort : Trompette &ndash; Alexandre Litwak : Clarinette, saxophone alto &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />C&rsquo;est vrai que l&rsquo;on parle souvent de &laquo;&thinsp;la m&egrave;re juive&thinsp;&raquo;, il paraitrait m&ecirc;me que l&rsquo;on en a fait une chanson ! Et le p&egrave;re dans tout cela ? Bien qu&rsquo;il chantait faux, l&rsquo;influence musicale du mien a fait beaucoup dans mon parcours de musicien. Il &eacute;tait donc temps de d&eacute;tourner une chanson en sa faveur, non ?</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Yid Un Goy Fantasy</span><span class=Texte><br />(traditionnel). Introduction : Diga diga doo. Arrangement : Alexandre Litwak<br />Laurent Vassort : Trompette &ndash; Alexandre Litwak : Clarinette &amp; arrangement &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />A l&rsquo;origine cette suite musicale &eacute;tait connue sous le nom d&rsquo;Oriental Hora &amp; Freilach. Suite musicale car l&rsquo;instrument soliste commen&ccedil;ait le morceau par une improvisation plus ou moins longue (appel&eacute;e do&iuml;na), enchainait ensuite sur une danse lente &agrave; trois temps (hora) puis se poursuivait sur une autre danse prise sur un tempo vif et joyeux (freilach).<br />Lorsque Duke Ellington dirigeait son orchestre au Cotton Club, il lui arrivait de jouer des interludes klezmer pour les clients juifs du club. Mais les-jouait il vraiment comme les klezmorim ou comme un musicien fort de son propre style ? Nous avons tent&eacute; de r&eacute;pondre &agrave; cette question.<br />Ici, en guise d&rsquo;introduction, nous jouons une chanson que l&rsquo;orchestre de Duke Ellington a fait connaitre et enregistr&eacute;e plusieurs fois. Nous respectons l&rsquo;ordre des danses, Hora et Freilach se succ&egrave;dent, mais se glisse astucieusement, dans une des horas, l&rsquo;une des compositions du ma&icirc;tre, typique de son passage au Cotton Club de Harlem et du style &laquo;&thinsp;jungle&thinsp;&raquo; : Black and Tan Fantasy. Puisque nous nous sommes amus&eacute;s &agrave; d&eacute;tourner sa musi&shy;que, pourquoi ne pas en faire autant avec le titre ?</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Tchiribim, Tchiribom</span><span class=Texte><br />(Traditionnel). Arrangement : Gefilte Swing<br />Muriel Missirlou : Chant - Laurent Vassort : Trompette &ndash; Alexandre Litwak : Clarinette &ndash; Wilfried Touati : Accord&eacute;on &ndash; Pascal Fabry : Tuba &ndash; Cl&eacute;ment Moraux : Batterie.<br />Cette chanson traditionnelle et entrainante semble &ecirc;tre arriv&eacute;e en France en 1949 gr&acirc;ce &agrave; l&rsquo;enregistrement fait pour la marque Elesdisc, par Bernard Potock, chanteur, trompettiste et chef d&rsquo;orchestre dans les cabarets yiddish parisiens de l&rsquo;apr&egrave;s-guerre. Version innovante, pour l&rsquo;&eacute;poque, o&ugrave; le swing am&eacute;ricain tenait une place pr&eacute;dominante et o&ugrave; l&rsquo;on peut entendre les musiciens improviser et glisser un Kol Nidre swinguant. <br />L&rsquo;arrangement de notre version est collective : Wilfied Touati a compos&eacute; l&rsquo;introduction, je me suis occup&eacute; des voix de trompette et de clarinette et la malicieuse Muriel nous a propos&eacute; un &laquo;&thinsp;clin d&rsquo;&oelig;il&thinsp;&raquo; &agrave; sa chanteuse pr&eacute;f&eacute;r&eacute;e, Ella Fitzgerald, s&rsquo;appropriant sa version d&rsquo;une composition de Duke Ellington, Rockin&rsquo;in Rhythm. L&rsquo;agencement des diff&eacute;rentes parties, instrumentales ou chant&eacute;es est le fruit de multiples essais de l&rsquo;orchestre.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Soustitre>Al Capone</span><span class=Texte><br />(Jacques Grober): Arrangement : Alexandre Litwak<br />Muriel Missirlou : Chant &ndash; Shona Taylor &amp; Michel Bonnet : Cornet &ndash; Jean-Pierre Dumontier : Trombone &ndash; Alexandre Litwak, Franck S&eacute;guy &amp; Laure Berthaume&thinsp;: Clarinette &ndash; &laquo;&thinsp;Jopo&thinsp;&raquo; : Piano - Rapha&euml;l Ducasse : Contrebasse &ndash; Cl&eacute;ment Moraux : Batterie.<br />Jacques Grober [1951-2006] auteur, compositeur et interpr&egrave;te de chansons yiddish, avait imagin&eacute; un Al Capone non pas n&eacute; en Sicile mais en Roumanie.<br />Imaginons donc le c&eacute;l&egrave;bre Cotton Club de New York, o&ugrave;, au son de l&rsquo;orchestre de Duke Ellington, m&eacute;langeant le swing et l&rsquo;hassidisme, un Al Capone nostalgique se rem&eacute;more sa lointaine Roumanie natale.<br />L&rsquo;arrangement ici est celui que Gefilte Swing a jou&eacute; lors du concert hommage &agrave; Jacques Grober &agrave; l&rsquo;Ecole Normale de Musique en 2008.<br />L&rsquo;enregistrement b&eacute;n&eacute;ficie ici de la pr&eacute;sence suppl&eacute;mentaire de nombreux musiciens de swing qui connaissent parfaitement le style &laquo;&thinsp;Cotton Club&thinsp;&raquo;.<br />Shona Taylor est la soliste au cornet et Michel Bonnet r&eacute;pond &agrave; Muriel Missirlou lors de son rubato.</span></p><p align=justify><span class=Source>Cr&eacute;dits photos<br />Constantin Litwak, dans le parc de Versailles.<br />&copy; Collection priv&eacute;e d&rsquo;Alexandre Litwak.<br />Freilach &agrave; la Litwak : Ir&egrave;ne Romano, Constantin Litwak, Rosette Frisht et Bernard L&eacute;vy-Lettelier dans le cabinet de proth&egrave;se de l&rsquo;Ecole Dentaire de Paris, 45 Rue de la Tour d&rsquo;Auvergne &agrave; Paris en f&eacute;vrier 1941. &copy; Collection priv&eacute;e d&rsquo;Alexandre Litwak.<br />Al Capone : Jacques Grober, enfant, dans un costume confectionn&eacute; par Pinie Grober, son p&egrave;re.<br />&copy; Collection priv&eacute;e de Catherine Grober.<br />Photos fond cristal : &copy; Michel Bonnet et Pierre Deloffre.</span><span class=Texte><br /></span><span class=Soustitre>Place aux invit&eacute;s !</span><span class=Texte><br />Klez N&rsquo; Zazou est n&eacute; sous le signe de l&rsquo;&eacute;change joyeux et de la complicit&eacute;. En plus des musiciens du Gefilte Swing, dix autres ont particip&eacute; &agrave; l&rsquo;aventure, contribuant &agrave; enrichir cet opus dans ce qui fait l&rsquo;ADN de l&rsquo;&eacute;quipe originelle : du klezmer, du yiddish et du swing !<br />Le yiddish et le klezmer ont la part belle avec les chanteuses Judith Marx et M&eacute;lanie Gardyn, le clarinettiste Franck S&eacute;guy et le guitariste &eacute;lectrique David Konopnicki. Sans oublier le pianiste swing Jean-Pierre Dumontier, qui pour la premi&egrave;re fois s&rsquo;est pr&ecirc;t&eacute; au jeu de l&rsquo;interpr&eacute;tation &laquo;&thinsp;&agrave; la klezmer&thinsp;&raquo;.<br />Honneur &eacute;galement au swing et au jazz avec les trompettistes Shona Taylor et Michel Bonnet, le contrebassiste Rapha&euml;l Ducasse et &agrave; nouveau Jean-Pierre Dumontier, cette fois au trombone.<br />Klez N&rsquo; Zazou , c&rsquo;est aussi l&rsquo;occasion de prendre des nouvelles des anciens. Le batteur David Elouet et la clarinettiste Laure Berthaume (alors &eacute;galement batteuse) reprennent ici du service pour notre plus grand plaisir.<br />Remerciements<br />- Murielle Levy, directrice des Productions du Golem, m&rsquo;a prodigu&eacute; autant de conseils que d&rsquo;initiatives ing&eacute;nieuses, auxquels je n&rsquo;aurais pas song&eacute;s.<br />- Andr&eacute;as Lecter et &laquo;&thinsp;PH&thinsp;&raquo;, ing&eacute;nieurs du son du studio Montmartre Recording, aux oreilles d&rsquo;or.<br />- Lise Gutmann pour son soutien et sa relecture des termes et titres en yiddish.<br />- Daniella Pinkstein pour sa relecture attentive de l&rsquo;ensemble des textes de ce cd.<br />- Elise Goldberg pour la r&eacute;daction de : &laquo;&thinsp;Place aux invit&eacute;s !&thinsp;&raquo;.<br />- L&rsquo;ensemble des musiciens invit&eacute;s qui ont &laquo;&thinsp;jou&eacute; le jeu&thinsp;&raquo;.<br />- Les membres du Gefilte Swing pour leur &eacute;coute et leur disponibilit&eacute; &agrave; l&rsquo;&eacute;gard de ce cd.<br />- Catherine Grober pour l&rsquo;aide &agrave; la recherche sur l&rsquo;historique de certains morceaux.<br />- Patrick Fr&eacute;meaux et Augustin Bondoux de Fr&eacute;meaux &amp; Associ&eacute;s qui font rentrer par ce CD le monde Klezmer dans leur catalogue.</span></p><p align=justify><span class=Texte><br /></span></p><p align=justify><span class=Source>Enregistr&eacute; en mars et mai 2018 au Studio Montmartre Recording, Paris.<br />Prise de son : Andr&eacute;as Lecter et PH / Mixage : Andr&eacute;as Lecter et Cl&eacute;ment Moraux / Mastering : Andr&eacute;as Lecter.<br />Graphisme : &copy; Les Productions du Golem.<br />Contact sc&egrave;ne : Alexandre Litwak gefilte.swing@yahoo.fr &ndash; www.gefilte-swing.fr <br />Label : Fr&eacute;meaux &amp; Associ&eacute;s, info@fremeaux.com <br />Fabrication et distribution : Fr&eacute;meaux &amp; Associ&eacute;s.<br /></span><span class=Texte><br />&#8199;1. Le Poste parisien vous annonce&hellip; 0&rsquo;43<br />&#8199;2. Frankraykh Mayn [Douce France] (Charles Trenet - L&eacute;o Chauliac &ndash; 1943 &copy; Editions Salabert - adaptation en Yiddish par Yitskhok Niborski) 3&rsquo;05<br />&#8199;3. Benny&rsquo;s Freilach [Nifty&rsquo;s Freilach] (Naftule Brandwein) 4&rsquo;19<br />&#8199;4. Freilach &agrave; la Litwak [Shtiller Bulgar - and the Angels Sing]&nbsp; (Traditionnel &ndash; Ziggy Elman &amp; Johnny Mercer) 3&rsquo;12<br />&#8199;5. Du Shaynts Vi Di Zin (Ilia Triling &amp; Lilian Isador &ndash; 1943) 3&rsquo;27<br />&#8199;6. Lebedik un Freilach (Louis Gilrod &amp; Perez Sandler - 1926) 3&rsquo;31<br />&#8199;7. Mitsve Tentsl &amp; Bughici Freylakhs (traditionnel) 4&rsquo;24<br />&#8199;8. Yid Meets Goy [Freilach Yidalach] (traditionnel) 4&rsquo;48<br />&#8199;9. Mashav (John Zorn) 4&rsquo;55<br />10. Mayn Swingin&rsquo; Tate [A Yiddish Mame] (Lew Pollack -1925) 2&rsquo;47<br />11. Yid Un Goy Fantasy [Oriental Hora &amp; Freilach] (traditionnel) 4&rsquo;14<br />12. Tchiribim, Tchiribom (Traditionnel) 6&rsquo;18<br />13. Al Capone (Jacques Grober) 3&rsquo;29<br /></span><span class=Source><br />1 Klezmorim : Pluriel de musicien klezmer.<br />2 Buda Music 1999.</span><span class=Texte><br /></span></p>"
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      "dwf_livret" => "<h3>WORLD MUSIC FROM ISRAEL FA 079</h3><p align=justify>  </p><span class=Soustitre2>WORLD MUSIC FROM ISRAEL</span><span class=Texte><br /></span><p align=justify><span class=Soustitre><br />AVANT-PROPOS</span><span class=Texte><br />J&rsquo;ai eu le privil&egrave;ge d&rsquo;aller en Isra&euml;l en 1957 alors que des Juifs venus du monde entier arrivaient encore&nbsp; pour essayer de s&rsquo;&eacute;tablir&nbsp; dans ce nouvel &eacute;tat qui avait tout juste dix ans d&rsquo;existence. La premi&egrave;re chose qui m&rsquo;a frapp&eacute; au moment de mon arriv&eacute;e &eacute;tait l&rsquo;extraordinaire diversit&eacute; des visages et l&rsquo;&eacute;blouissante vari&eacute;t&eacute; des sons et des musiques. C&rsquo;&eacute;tait litt&eacute;ralement comme un d&eacute;versement de gens venus d&rsquo;Est, d&rsquo;Ouest, du Nord et du Sud, qui apportaient avec eux les habitudes, la langue et la musique de leur pays d&rsquo;origine. La premi&egrave;re impression &eacute;tait celle d&rsquo;un m&eacute;lange de l&rsquo;ancien et du nouveau qui s&rsquo;affrontaient, celle d&rsquo;une tentative d&rsquo;int&eacute;grer l&rsquo;Occident &agrave; l&rsquo;Orient, d&rsquo;unir l&rsquo;ancien et le sacr&eacute; au scepticisme contemporain. En consultant aujourd&rsquo;hui mes notes pour la r&eacute;daction de ce texte, j&rsquo;ai retrouv&eacute; une liste de rendez-vous avec des musiciens venus d&rsquo;&agrave; peu pr&egrave;s tous les pays du monde : par exemple, du Maroc en Afrique du Nord&nbsp; ou du Y&eacute;men dans la p&eacute;ninsule Arabique, ou bien encore de Boukhara en Asie Centrale ou d&rsquo;Espagne en Europe du Sud, toutes ces r&eacute;gions pouvant litt&eacute;ralement &ecirc;tre d&eacute;crites comme des mondes s&eacute;par&eacute;s. Ainsi, sur une petite parcelle de terre d&rsquo;Asie Occidentale, Isra&euml;l abritait l&rsquo;ensemble du monde de la musique, l&rsquo;expression contemporaine de &laquo;world music&raquo; ou &laquo;musiques du monde&raquo; n&rsquo;&eacute;tant pas d&rsquo;usage &agrave; l&rsquo;&eacute;poque.Je suis revenu d&rsquo;Isra&euml;l avec de longues heures d&rsquo;enregistrement et des centaines de photos que j&rsquo;&eacute;coute ou regarde aujourd&rsquo;hui encore avec affection et grand plaisir. Une petite partie de cette collection a &eacute;t&eacute; publi&eacute;e en 1958 par les &eacute;ditions Westminster, &agrave; New York, constituant une s&eacute;rie de quatre albums 33 tours intitul&eacute;e Isra&euml;l Aujourd&rsquo;hui.&nbsp; <br />N&eacute;anmoins cela fait vingt ans qu&rsquo;ils sont &eacute;puis&eacute;s et hors circulation. En plus des quatre albums, un livre de photos comportant un petit 45 tours intitul&eacute; Visages d&rsquo;Isra&euml;l fut publi&eacute; par Seghers-B.A.M., &agrave; Paris en 1960. Cette &eacute;dition aussi est &eacute;puis&eacute;e depuis trente ans. Par cons&eacute;quent, nous nous sommes d&eacute;cid&eacute;s &agrave; publier cette nouvelle &eacute;dition sur CD &agrave; l&rsquo;occasion du 50&egrave;me anniversaire de la cr&eacute;ation de l&rsquo;&eacute;tat d&rsquo;Isra&euml;l. Afin de donner une forme aux enre&shy;gistrements pr&eacute;sent&eacute;s dans ces CDs, j&rsquo;ai d&ucirc; abandonner des s&eacute;quences de mes propres p&eacute;r&eacute;grinations en Isra&euml;l. Etant donn&eacute; l&rsquo;extraordinaire vari&eacute;t&eacute; d&rsquo;&eacute;l&eacute;ments humains et musicaux qui pr&eacute;dominait &agrave; la fin des ann&eacute;es 50, la seule mani&egrave;re dont je puisse pr&eacute;senter ces enregistrements&nbsp; est de me r&eacute;f&egrave;rer au contexte g&eacute;ogra&shy;phique d&rsquo;origine de chacun des artistes que vous allez entendre sur ces CDs. Comme vous le verrez sur la carte, les communaut&eacute;s repr&eacute;sent&eacute;es sur ces CDs sont indiqu&eacute;es par des fl&ecirc;ches point&eacute;es en direction d&rsquo;Isra&euml;l. Leur dates d&rsquo;arriv&eacute;e varient beaucoup, de deux ou trois g&eacute;n&eacute;rations pour les unes, &agrave; une ann&eacute;e pr&eacute;c&eacute;dant mes enregistrements de 1957. Le chanteur ukrainien Moshe Anshin, par exemple, (voir CD 2, morceau 5) est n&eacute; &agrave; J&eacute;rusalem de parents qui avaient &eacute;migr&eacute; d&rsquo;Ukraine. En revanche, le fianc&eacute; tunisien dont vous entendrez une partie du mariage (CD 1, morceau 7) &eacute;tait arriv&eacute; seulement une ann&eacute;e et demie avant que je ne le rejoigne pour la c&eacute;l&eacute;bration de son mariage. D&eacute;j&agrave; en 1957 quand j&rsquo;enregistrais, on percevait des signes de l&rsquo;influence d&rsquo;une musique sur l&rsquo;autre. Certains de ces m&eacute;langes se faisaient spontan&eacute;ment et sans efforts, tandis que d&rsquo;autres pourraient &ecirc;tre d&eacute;crits comme &eacute;tant le r&eacute;sultat d&rsquo;exp&eacute;riences d&eacute;lib&eacute;r&eacute;es.Ce coffret de deux CDs est une modeste tentative d&rsquo;illustrer certains des &eacute;l&eacute;ments musicaux importants qui ont p&eacute;n&eacute;tr&eacute; le pays, accompagnant le flot de migrants originaires du monde entier venus en Isra&euml;l depuis qu&rsquo;il ouvrit ses fronti&egrave;res aux Juifs de tous les continents.<br /><em>DEBEN BHATTACHARYA</em><br /></span><span class=Soustitre2>CD 1: LA MUSIQUE DES JUIFS D&rsquo;ORIENT</span><span class=Texte><br /></span><span class=Soustitre>LA MUSIQUE ET LES INSTRUMENTS</span><span class=Texte><br />Les chansons et la musique instru&shy;mentale marocaines ne peuvent &ecirc;tre ni classifi&eacute;es comme musique floklorique d&rsquo;un arri&egrave;re-pays rural et peu sophis&shy;tiqu&eacute;, ni vraiment comme &eacute;tant strictement une musique artistique destin&eacute;e &agrave; des r&eacute;jouissances populaires. Les chanteurs juifs marocains, dont la terre d&rsquo;origine &eacute;tait l&rsquo;Espagne mais qui ont par la suite migr&eacute; vers le Maroc, &eacute;taient peu suceptibles d&rsquo;oublier les influences m&eacute;lodiques mauresques d&rsquo;Andalousie, dont on dit qu&rsquo;elles ont inspir&eacute; le chant Flamenco. Bien que les chansons juives maro&shy;caines soient chant&eacute;es en Arabe, la m&eacute;lodie et les paroles ont un caract&egrave;re profond&eacute;ment nostalgique. On trouve par exemple ce genre de paroles : &laquo;Je me souviens d&rsquo;une belle, avec une grain de beaut&eacute; et de sombres yeux en&shy;chanteurs. Oh, cette fille de S&eacute;ville m&rsquo;a rendu fou... Elle &eacute;tait si belle!&raquo; Les chansons sont accompagn&eacute;es par des instruments arabes classiques, comme le &rsquo;Ud, l&rsquo;&eacute;quivalent du luth mais qui a dix cordes r&eacute;parties en cinq paires, et que l&rsquo;on pince avec l&rsquo;embout d&rsquo;une plume; Le Qanun, un psalt&eacute;rion &agrave; soixante dix-huit cordes r&eacute;parties par trois et pinc&eacute;es avec une paire de plectres, et la Derbouka - percussion en forme de gobelet &eacute;vas&eacute; et &agrave; une seule t&ecirc;te; enfin, un tambourin et un violon compl&egrave;tent l&rsquo;ensemble.Les Juifs Y&eacute;m&eacute;nites viennent eux de l&rsquo;&eacute;tat musulman du Y&eacute;men, situ&eacute; au sud de la p&eacute;ninsule arabique. <br />Dans l&rsquo;&eacute;tat Wahabitte d&rsquo;Arabie Saoudite - le si&egrave;ge de l&rsquo;Islam - la musique est un art proscrit, et par cons&eacute;quent, au Y&eacute;men voisin, on lui porte &eacute;galement assez peu de consid&eacute;ration. Les musiciens y&eacute;m&eacute;nites qui sont repr&eacute;sent&eacute;s sur le disque m&rsquo;ont racont&eacute; qu&rsquo;au Y&eacute;men, l&rsquo;ethnie dominante avait refus&eacute; aux Juifs le droit de jouer quelque instrument que ce soit. D&rsquo;o&ugrave; leur amour pour tous les instruments &agrave; percussion, qui s&rsquo;est d&eacute;velopp&eacute; en pratiquant sur des assiettes de m&eacute;tal ou des bo&icirc;tes de k&eacute;ros&egrave;ne, faciles &agrave; se procurer.Le groupe de Boukhara repr&eacute;sent&eacute; sur ce CD &eacute;tait peut &ecirc;tre le seul groupe d&rsquo;Asie Centrale important pr&eacute;sent en Isra&euml;l &agrave; l&rsquo;&eacute;poque o&ugrave; je r&eacute;alisais ces enregistrements, en Juin-Juillet 1957. La plupart des musiciens gagnaient leur vie &agrave; partir de l&rsquo;artisanat traditionnel qu&rsquo;est la broderie et ne jouaient en public qu&rsquo;occasionellement. Leurs instruments d&rsquo;accompagnement &eacute;taient le Chang, la version la plus ancienne du Dulcimer iranien couramment en usage, appell&eacute; Santoor. Ce Chang avait une structure plate, sur laquelle &eacute;taient tendues quarante deux cordes, par s&eacute;ries de trois. Ils les pin&ccedil;aient avec une paire de petits marteaux en bois l&eacute;gers. Parmi les autres instruments de l&rsquo;ensemble, il y avait&nbsp; une viole de gambe, apell&eacute; le Kamancha, un instrument &agrave; trois cordes, que l&rsquo;on pince, appel&eacute; le Tambur et une paire de percusions &agrave; cadre, les Doiras.<br /><strong><u>AFRIQUE DU NORD</u><br /><em>1. CHANSON D&rsquo;AMOUR EN ARABE -</em></strong> Chant&eacute;e en Arabe par Sebag Yehuda qui joue le &rsquo;&ucirc;d lui-m&ecirc;me. Il est accompagn&eacute; &agrave; la derbouka par Aharon Abraham. Pour des informations sur les ins&shy;truments, voir l&rsquo;introduction ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 3&rsquo;45.<br /><em><strong>2. MAQAM SEEKA - </strong></em>Chant&eacute;e en Arabe sur un mode classique, le Maqam Seeka est une chanson d&rsquo;amour. La voix principale est celle de Mahman Meir qui chante avec Sebag Yehuda, Ohayon Masood, Aharon Abraham et Abraham El-Harar. Les chanteurs s&rsquo;accompagnent du &rsquo;&ucirc;d, du q&acirc;n&ucirc;n, de la derbouka et du tambourin tandis que les auditeurs marocains frappent dans leurs mains. Pour plus d&rsquo;information sur les instruments, voir l&rsquo;introduction ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 6&rsquo;30.<br /><em><strong>3. LA DOUCEUR DE LA TERRE -</strong></em> Chant&eacute;e par Sebag Yehuda qui s&rsquo;accompagne du &rsquo;&ucirc;d, cette chanson commence avec les paroles suivantes : &laquo;La douceur de cette belle terre, jamais je ne l&rsquo;oublierai&raquo;. Chant&eacute;e par Maqam Hijaz. Pour des informations sur le &rsquo;&ucirc;d, voir introduction ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 4&rsquo;5.<br /><em><strong>4. MAQAM AEIRAG - </strong></em>Une chanson d&rsquo;amour dont les premi&egrave;res paroles sont: &laquo;Mon ami, o&ugrave; est-il?&raquo;, chant&eacute;e par Sebag Yehuda, comme ci-dessus, qui s&rsquo;accompagne du &rsquo;&ucirc;d. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 5&rsquo;10.<br /><em><strong>5. &lsquo;AL ZIN -</strong></em> Pour la beaut&eacute;. Chanson d&rsquo;amour alg&eacute;rienne, chant&eacute;e par Sebag Yehuda, qui s&rsquo;accompagne du &rsquo;&ucirc;d&nbsp; comme ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 4&rsquo;30.<br /><em><strong>6. LA FILLE DE SÉVILLE - </strong></em>&laquo;Je me souviens de cette belle, elle avait un grain de beaut&eacute; et des yeux sombres et enchanteurs. Oh, cette fille de S&eacute;ville, elle m&rsquo;a rendu fou - elle &eacute;tait si belle&raquo;. Chant&eacute;e sur le mode Maqam Seeka, c&rsquo;est une chanson d&rsquo;amour marocaine en m&eacute;moire d&rsquo;une belle de S&eacute;ville. Elle est chant&eacute;e par Sebag Yehuda qui s&rsquo;accompagne au &rsquo;&ucirc;d. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 4&rsquo;25.<br /><em><strong>7. CHANSON DE MARIAGE - </strong></em>Chant et claquement des mains par une amie de la famille juive tunisienne du jeune mari&eacute;. Comme c&rsquo;est la coutume dans la communaut&eacute; juive tunisienne, elle chante en Arabe, pour ouvrir la c&eacute;r&eacute;monie et aussi pour le divertissement des jeunes mari&eacute;s et de leurs invit&eacute;s. Enregistr&eacute; &agrave; Safed, Juin 1957. Dur&eacute;e : 4&rsquo;.<br /><u><strong>YEMEN</strong></u><br /><em><strong>8. CHANSON D&rsquo;AMOUR EN ARABE - </strong></em>Chant&eacute;e par Malka Aque et Shalom Assair qui s&rsquo;accompagnent d&rsquo;une Derbouka et d&rsquo;un bidon de k&eacute;ros&egrave;ne m&eacute;tallique. Pour plus d&rsquo;informations, voir l&rsquo;introduction ci-dessus. Enregistr&eacute; au campement y&eacute;menite de Yishi, au sud de Hartuv, Juin 1957. Dur&eacute;e : 3&rsquo;30.<br /><em><strong>9. CHANSON DE MARIAGE EN HEBREU -</strong></em> chant&eacute;e par un homme qui s&rsquo;accompagne en frappant sur un bidon de k&eacute;ros&egrave;ne&nbsp; m&eacute;tallique (voir intro&shy;duction). Enregistr&eacute; &agrave; Yishi, Juin 1957. Dur&eacute;e : 4&rsquo;50.<br /><u><strong>BOUKHARA</strong></u><br /><em><strong>10. CHANSON D&rsquo;AMOUR PERSE - </strong></em>Chant&eacute;e par une femme membre du Groupe Musical de Boukhara et accompagn&eacute;e par le Chang, Kamancha, le Tambur, une fl&ucirc;te de fonte et une paire de percusssions &agrave; cadre appel&eacute;es Doiras, jou&eacute;es par d&rsquo;autres membres du groupe sous la direction de Menhanen Eliezacoff. Pour plus d&rsquo;information sur les instruments, voir l&rsquo;introduction. Enregistr&eacute; &agrave; Tel Aviv, Juillet 1957. Dur&eacute;e : 4&rsquo;50.<br /><em><strong>11. MUSIQUE POUR DANSER -</strong></em> de Boukhara. Au d&eacute;but de l&rsquo;enre&shy;gistrement, les musiciens recherchent un th&egrave;me; puis la musique pour danser est jou&eacute;e par le Groupe de Musique de Boukhara sur les instruments indiqu&eacute;s ci-dessus. Enregistr&eacute; &agrave; Tel Aviv, Juillet 1957. Dur&eacute;e : 3&rsquo;10.<br /><em><strong>12. MODE MISKIN.</strong></em> Le terme &laquo;miskin&raquo; signifie lent ou indolent... Dans la musique d&rsquo;Asie Centrale, c&rsquo;est un mode courant qui est &agrave; la fois chant&eacute; et jou&eacute; sur des instruments. Ici il est jou&eacute; sur une viole de gambe, Kamancha, par le directeur du groupe cit&eacute; plus haut, Menahem Eliezacoff, accompagn&eacute; par une paire de percussions appel&eacute;e les Doiras et une paire de petites cymbales. Enregistr&eacute; &agrave; Tel Aviv, Juillet 1957. Dur&eacute;e : 3&rsquo;30.<br /><em><strong>13. RYTHMES BOUKHARI SUR DOIRAS.</strong></em> Un set de quatre rythmes intitul&eacute;s Safalak, Chilagi, Ufar et Larzonak sont jou&eacute;s au cours de cet enregistrement sur une paire de grandes percussions apell&eacute;es Doiras, par les musiciens du Groupe de Musique Boukhara cit&eacute;s plus haut. Enregistr&eacute; &agrave; Tel Aviv, Juillet 1957. Dur&eacute;e: 2&rsquo;15.<br /><em><strong>14. CHANSON POUR LA RÉCOLTE DES FRUITS.</strong></em> C&rsquo;est une chanson agricole Ouzbek qui d&eacute;crit la qualit&eacute; des pommes et des raisins d&rsquo;Ouzbekhistan. Chant&eacute;e par tous les musiciens du Groupe de Musique Boukhara, elle est accompagn&eacute;e par les Kamancha, Chang, Tambur, une fl&ucirc;te et une paire de Doiras. Pour plus d&rsquo;informations, voir l&rsquo;introduction ci-dessus. Enregistr&eacute; &agrave; Tel Aviv, Juillet 1957. Dur&eacute;e : 3&rsquo;00.<br /></span><span class=Soustitre2>CD n&deg;2 :LA MUSIQUE DES JUIFS D&rsquo;EUROPE</span><span class=Texte><br /></span><span class=Soustitre>LA MUSIQUE ET LES INSTRUMENTS</span><span class=Texte><br />La premi&egrave;re partie de ce CD est consacr&eacute;e aux chansons religieuses des Juifs Ashk&eacute;nazes d&rsquo;Ukraine et de Hongrie. M&ecirc;me s&rsquo;il y a une certaine couleur chorale dans chacune de ces chansons, nous avons essay&eacute; de retenir celles qui d&rsquo;habitude sont chant&eacute;es &agrave; la maison et ont une caract&egrave;re populaire marqu&eacute;. La plupart des chanteurs &eacute;taient en Palestine depuis plus de trois g&eacute;n&eacute;rations. M&ecirc;me si aujourd&rsquo;hui les membres de la communaut&eacute; des Juifs europ&eacute;ens sont r&eacute;partis un peu partout sur le territoire d&rsquo;Isra&euml;l, &agrave; l&rsquo;origine, Mea Shearim, le quartier fortifi&eacute; qui fut &eacute;tabli en 1875, ainsi que ses annexes comme la Colonie Hongroise, &eacute;taient leurs lieux de pr&eacute;dilection. Aujourd&rsquo;hui encore, ce quartier a conserv&eacute; sa r&eacute;putation pour avoir gard&eacute; vivante la tradition d&rsquo;&eacute;tude de la Torah et des ses commentaires.Par opposition aux chants religieux, le Groupe de la Police, bien que men&eacute; par des musiciens europ&eacute;ens, a offert un concert communautaire de caract&egrave;re populaire. Les enregistrements ont &eacute;t&eacute; r&eacute;alis&eacute;s en Juin 1957, avec un groupe de la police de Tel Aviv qui se produisait devant un groupe de colons, &agrave; Moshav Meiron, au nord-ouest de la Haute Galil&eacute;e.Le mont Meiron est la plus haute montagne d&rsquo;Isra&euml;l. Il y avait alors des&nbsp; rumeurs selon lesquelles les routes d&rsquo;acc&egrave;s public &agrave; cette r&eacute;gion devaient &ecirc;tre ferm&eacute;es, en pr&eacute;vision de conflits &eacute;ventuels avec les territoires voisins. <br />Pourtant, par chance, je rencontrai un groupe de policiers tr&egrave;s en train. Le groupe &eacute;tait constitu&eacute; de quatre personnes qui, de mani&egrave;re assez &eacute;tonnante, &eacute;taient chacune originaire d&rsquo;un pays d&rsquo;Europe diff&eacute;rent! En se pr&eacute;sentant ils d&eacute;clin&egrave;rent leur pays d&rsquo;origine: le chef, qui jouait de l&rsquo;accord&eacute;on hexagonal venait d&rsquo;Autriche, le batteur venait d&rsquo;ex-Tch&eacute;coslovaquie, le saxophoniste de Roumanie et le trompettiste venait de Gr&egrave;ce. Il fut tr&egrave;s int&eacute;resssant de voir l&rsquo;accueil et la participation des gens de la r&eacute;gion &agrave; l&rsquo;occasion de ce concert donn&eacute; par un groupe venu de la grande ville, un groupe de la Police de Tel Aviv.Les musiciens s&eacute;pharades, d&rsquo;une grande sensibilit&eacute;, qui ont gard&eacute; vivante la tradition des romances et des ballades espagnoles du Moyen-Age sont repr&eacute;sent&eacute;s sur ce CD par les morceaux n&deg; 8, 9 et 10. Bien qu&rsquo; expuls&eacute;s d&rsquo;Espagne avec les musulmans Maures au moment o&ugrave; le christianisme s&rsquo;imposait &agrave; nouveau dans le pays, les Juifs espagnols ont su pr&eacute;server leur histoire sociale et politique gr&acirc;ce &agrave; ces ravissantes ballades et chansons. Partout o&ugrave; ils allaient, ils emportaient ces beaux chants avec eux, comme ils le font encore aujourd&rsquo;hui et s&rsquo;accom&shy;pagnent du luth maure, le &rsquo;&ucirc;d.<br /><u><strong>LES CHANTS RELIGIEUX DES JUIFS ASHKENAZES</strong></u><br /><em><strong>1. Puisse le temple &ecirc;tre reconstruit - </strong></em>Chant&eacute; en H&eacute;breu, c&rsquo;est un chant choral en solo, avec en interludes une s&eacute;rie de groupes de refrains. Chant&eacute; par Isra&euml;l Stern et ses deux fils Moshe et Joseph. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 8&rsquo;10.<br /><em><strong>2. Shema Isra&euml;l -</strong></em> Chant lithurgique h&eacute;breu, chant&eacute; par Moshe et, en r&eacute;partie, par son p&egrave;re Isra&euml;l Stern. Enregistr&eacute; comme ci-dessus &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 5&rsquo;20.<br /><em><strong>3. JE t&rsquo;ai donn&eacute; un bon conseil - </strong></em>Une chanson qui invite &agrave; replacer la Torah dans son abri. Chant&eacute;e par Joseph Stern, comme ci-dessus. Enregistr&eacute;e &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e : 4&rsquo;40.<br /><em><strong>4. Zamo Lecho Nafsi - </strong></em>Chant choral en solo, chant&eacute; par Rabbi Levinsohn. Enregistr&eacute; &agrave; J&eacute;rusalem, Juin 1957. Dur&eacute;e: 6&rsquo;00.<br /><em><strong>5. Une nouvelle pri&egrave;re pour le Sabbat -</strong></em> qui dit que le temps viendra o&ugrave; tous les jours seront comme le jour du Sabbat. Un chant choral chant&eacute; par Moshe Anshin, n&eacute; &agrave; J&eacute;rusalem de parents Ukrainiens. Enregistr&eacute; &agrave; J&eacute;rusalem, Juillet 1957. Dur&eacute;e : 3&rsquo;35.<br /><u><strong>LES GROUPES DE LA POLICE ISREALIENNE</strong></u><br /><em><strong>6. Chants de mariage d&rsquo;Europe de l&rsquo;Est -</strong></em> M&eacute;lange de musique de danse populaire jou&eacute;e &agrave; l&rsquo;occasion d&rsquo;un concert &agrave; Moshav Meiron sur accord&eacute;on hexagonal, saxophone, trompette et percussions, par un groupe de la police de Tel Aviv. Pour plus d&rsquo;informations, voir introduction ci-dessus. Enregistr&eacute; &agrave; Moshav Meiron, Juin 1957. Dur&eacute;e : 4&rsquo;15.<br /><em><strong>7. M&eacute;lodies juives - </strong></em>M&eacute;lange de trois morceaux instrumentaux intitul&eacute;s &laquo;Hava Nagila&raquo; (danse Hora), Im hulpanu (Chanson d&rsquo;Espoir) et Zemer Lach (m&eacute;lodie palestinienne), jou&eacute; sur accord&eacute;on hexagonal, saxophone, trompette et percussions, comme ci-dessus, par le groupe de la police de Tel Aviv.<br /><strong><u>BALLADES ESPAGNOLES</u><br /><em>8. Chant de mar</em></strong></span><span class=Texte><strong><em>ch&eacute; </em>-</strong> Accompagn&eacute; du &rsquo;&ucirc;d, le luth maure qui compte cinq paires de cordes. Ces chansons sont comme des ballades du Moyen-Age espagnol. Pour ce qui est de la versification, elles comptent au moins quatre ou cinq strophes. Ce chant, par sa forme, est une ballade de six strophes, avec un vers en plus r&eacute;p&eacute;t&eacute; &agrave; chaque strophe, qui repr&eacute;sente le choeur. Les paroles de cette chanson sont celles d&rsquo;un vendeur de rue, un joyeux coquin qui s&rsquo;exprime par m&eacute;taphores malicieuses. Les quatre premi&egrave;res strophes signifient:&laquo;Je suis un bon vendeur,Bien meilleur que dans les magasins.Je travaille toute la journ&eacute;e en parlant avec de jolies filles.Lorsqu&rsquo;elles m&rsquo;appellent de leur fen&ecirc;treJe les assure que j&rsquo;ai des bonnes bananes.Je suis un bon vendeur, j&rsquo;ai les meilleurs fruits. Je prom&egrave;ne mon chariot &agrave; travers les rues.Venez voir, belles jeunes filles comme j&rsquo;ai de bons fruits,Voil&agrave;, je les ai ouverts maintenant, Et ils sont aussi d&eacute;licieux que vous&raquo;.Chant&eacute; par Aviganim Abraham qui s&rsquo;accompagne, lui, son fils Haim, et sa fille Rifka au &rsquo;&ucirc;d. Pour plus d&rsquo;infor&shy;mations, voir introduction ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juillet 1957. Dur&eacute;e : 6&rsquo;50.<strong><br /><em><strong>9. Le prisonnier et sa fianc&eacute;e</strong></em></strong><em> - </em>Semblable &agrave; la ballade pr&eacute;c&eacute;dente, cette chanson aussi a six strophes. Elle est chant&eacute;e par Aviganim Abraham qui s&rsquo;accompagne du &rsquo;&ucirc;d. Les premi&egrave;res paroles de la chanson sont les suivantes:&raquo;Je suis en prison mais toi tu es dans un lit de fleurs. Lorsque mon coeur est d&eacute;chir&eacute; et que j&rsquo;ai envie de pleurer, tu ne fais que rire. Viens pr&egrave;s de ma prison, m&ecirc;me si tu ne fais que passer et pense &agrave; mes larmes et ma mort qui approche&raquo;. Pour plus d&rsquo;informations, voir introduction ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juillet 1957. Dur&eacute;e : 6&rsquo;45.<strong><br /><em><strong>10. Cheveux de soie</strong></em></strong><em> -</em> Une chanson d&rsquo;amour, chant&eacute;e par une amie de la famille des Abrahams qui s&rsquo;accompagne de la percussion maure &agrave; une seule t&ecirc;te, la Derbouka, tandis que Aviganim Abrahams joue le &rsquo;&ucirc;d. Les paroles de la chanson disent : &laquo;Tu sortais de chez le coiffeur, tes cheveux de soie avaient &eacute;t&eacute; coup&eacute;s courts. Mon coeur a tressaut&eacute; de joie en les voyant si beaux. Puisque nous sommes voisins, nous nous verrons de chaque c&ocirc;t&eacute; de la rue, depuis nos fen&ecirc;tres et du balcon, pour &eacute;changer de pudiques regards et sourires. Et empli de joie, j&rsquo;oublierai de manger&raquo;. Pour plus d&rsquo;informations, voir introduction ci-dessus. Enregistr&eacute; &agrave; J&eacute;rusalem, Juillet 1957. Dur&eacute;e : 3&rsquo;20.<br />ENREGISTREMENTS, PHOTOGRAPHIES ET TEXTE : DEBEN BHATTACHARYA<br />Les r&eacute;alisateurs de cette collection&nbsp; souhaiteraient exprimer leurs remer&shy;ciements et gratitude &agrave; Maggie Doherty et Suri Gopalan pour leur aide &agrave; la production de cet album, ainsi qu&rsquo;&agrave; Dominique Alise pour les photo&shy;graphies de couverture et pour les photo&shy;graphies r&eacute;alis&eacute;es en Juillet 1996.<br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA, 1998.<strong><br /><em><strong>english notes</strong></em><br /></strong></span><span class=Soustitre><strong>FOREWORD</strong></span><span class=Texte><strong><br />I</strong> had the privilege of being in Israel in June 1957 when the Jewish peoples from all over the world were still arriving and trying to make their permanent homes in the new Jewish State of Israel which at that time was about a decade old.&nbsp; The first thing that struck me on arrival in Israel was the extraordinary variety of faces and the overwhelming diversity of musical sounds.&nbsp; People were pouring into the country from East and West, North and South &ndash; bringing with them the habits, languages and music of their previous homelands.&nbsp; On the face of it, it seemed a confusion of old and new, struggling to integrate the Orient with the Occident, to intertwine the ancient and the sacred with contemporary scepticism.&nbsp; As I consulted my recording notes while writing this text, I found a succession of appointments with musicians&nbsp; from most countries of the world. For example, from Morocco in North Africa to Yemen in the southern part of Arabia and then from Bukhara in Central Asia to Spain in Southern Europe &ndash; all of which could be described literally as worlds apart. In a uniquely small area of land in West Asia, Israel contained the entire world of music.&nbsp; The modern expression of &ldquo;World Music&rdquo; was not in circulation at that time...I returned from Israel with many hours of recordings and hundreds of photographs which I still hear and view with great affection and pleasure.&nbsp; A small part of this collection was published in 1958 by Westminster, New York, in four LP volumes entitled In Israel Today which have been out of circulation for the last twenty-five years.&nbsp; In addition to the four&nbsp; LP albums, a book of photographs containing a small EP record, entitled Visages d&rsquo;Israel was published by Seghers &ndash; B.A.M, of Paris in 1960.&nbsp; <br />This too has been out of print for over thirty years. Consequently, we decided to bring out this set of CDs on the fiftieth anniversary of the country&rsquo;s creation.In order to give some form to the recordings presented on these CDs, I have had to abandon the sequence of&nbsp; my own movements in Israel.&nbsp; Out of that melting pot of an extraordinary variety of human elements and music which were overwhelmingly present in the late 1950s, the only way I can present the recordings is to follow the geographical background of the contributors whom you are going to hear on the CDs.&nbsp; As you will see on the map, the communities represented on the CDs are shown by arrows pointing to Israel.&nbsp; The dates of their arrival varies a great deal; from two to three generations to only a year before my recording the musicians in 1957.&nbsp; For instance, the Ukranian singer , Moshe Anshin (CD No.2, item 5) was born in Jerusalem of parents who emigrated from&nbsp; the Ukraine.&nbsp; On the other hand, the Tunisian bridegroom, whose marriage sequence you will hear (CD No.1, item 7) came only a year and a half before I joined him in his marriage feast!&nbsp; In 1957, when I was recording in Israel, there were already signs of influence of one music on another.&nbsp; Some of these blends were spontaneous and effortless while others could be described as the result of deliberate experimentation.This set of two CDs is only a modest attempt to illustrate some of the important musical elements that had entered the country with the rush of&nbsp; immigrants from all over the world since Israel opened its borders to the Jews from four Continents.&nbsp;&nbsp; <br /><em>DEBEN&nbsp; BHATTACHARYA</em><br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA, 1998.<strong><br /></strong></span><span class=Soustitre2><strong>CD-1: MUSIC AND INSTRUMENTS</strong></span><span class=Texte><strong><br /></strong>The Moroccan songs and instrumental music can neither be classified as folk music from an unsophisticated rural background&nbsp; nor can it be described as purely artistic music for popular entertainment.&nbsp; The Moroccan Jewish singers, whose original home was Spain but who later moved to Morocco, could hardly have forgotten the Moorish melodic influence in Andalusia which is said to have inspired the development of Flamenco singing.&nbsp; Though the Moroccan Jewish songs are in Arabic, the melody and the words express a deep nostalgic quality.&nbsp; For example, we hear them sing &ldquo;I remember a beauty with a beauty mark, with enchanting dark eyes. Oh, that girl from Seville drove me mad &ndash; she was so beautiful!&rdquo;&nbsp; The songs are accom&shy;panied by classical Arab instruments&nbsp; such as, the &lsquo;Ud, which is equivalent to a lute but has ten strings in five pairs and is plucked with the stem of a feather; the Qanun, a psaltery with 78 strings in sets of three and plucked with a pair of plectrums; and the Darabukka &ndash; a single-headed, goblet-shaped drum; a tam&shy;bourine and a violin complete the ensemble.The Jewish Yemenis, on the other hand, came from the Muslim state of Yemen, situated in the southern part of Arabia.&nbsp; <strong><br /></strong>Music is a forbidden art in the Wahabian state of Saudi Arabia &ndash; the seat of Islam &ndash; and in neighbouring Yemen, music is therefore regarded with a fair amount of disfavour. I was told by the Yemeni musicians represented on the compact disc that the Jews in Yemen were not allowed by the ruling race to play any instrument. They developed, therefore, their love for percussion instruments by practising on their metal eating plates and kerosene tins which were within easy reach (Bands : 8 and 9).The Bukhara group represented in this CD was, perhaps, the only important Central Asian music group in Israel at the time of recording in June - July, 1957.&nbsp; Most of the&nbsp; musicians made their living from their traditional craft of embroidery, only occasionally playing in public. The accompanying instruments consisted of the Chang, the older version of the currently used Iranian dulcimer named the Santoor.&nbsp; This Chang had a flat wooden structure on which forty-two strings were arranged in sets of three. These were struck by a pair of lightweight wooden hammers. Among the other instruments in the ensemble, there were a spiked fiddle called the Kamancha,&nbsp; a plucked&nbsp; three-stringed instrument named the Tambur and a pair of frame drums, the Doiras. <strong><br /><u><strong>NORTH AFRICA</strong></u><br /><em><strong>1. LOVE SONG IN ARABIC. </strong></em></strong><em>- </em>sung by Sebag Yehuda who plays the &lsquo;Ud himself. He is accompanied on the Darabukka by Aharon Abraham.&nbsp; For information regarding the instruments, cf. above introduction. Recorded in Jerusalem, June 1957. Duration 3&rsquo;45.&nbsp; <strong><br /><em><strong>2. MAQAM SEEKA. </strong></em></strong><em>- </em>sung in the classical mode, Maqam Seeka, this is a love song in Arabic.&nbsp; The song is led by Mahman Meir and sung together with Sebag Yehuda, Ohayon Masood, Aharon Abraham and Abraham El-Harar. The singers accompany themselves on the &lsquo;Ud, Qanun,&nbsp; Darabukka and Tambourine while the hand-clapping is provided by some of the Moroccan listeners. For information regarding the instruments, cf. above introduction.&nbsp; Recorded in Jerusalem, June 1957.&nbsp; Duration 6&rsquo;30.&nbsp;&nbsp; <strong><br /><em><strong>3. THE SWEETNESS OF THE EARTH. </strong></em></strong><em>-</em> Sung by Sebag Yehuda who accompanies himself on the &lsquo;Ud, it begins with the words &ldquo;the sweetness of this beautiful earth, I shall not forget&rdquo;.&nbsp; The song is sung in Maqam Hijaz. For information regarding the &lsquo;Ud, cf. above introduction.&nbsp; Recorded in Jerusalem, June 1957.&nbsp; Duration 4&rsquo;50.<strong><br /><em><strong>4. MAQAM AEIRAG.&nbsp;</strong></em> </strong>A love song beginning with the words &ldquo;my friend, where is he?&rdquo;, it is&nbsp; sung by Sebag Yehuda,&nbsp; as above, accompanying himself on the &lsquo;Ud.&nbsp; Recorded in Jerusalem, June 1957.&nbsp; Duration 5&rsquo;10.<strong><br /><em><strong>5.&lsquo;AL ZIN&rsquo;. </strong></em></strong><em>-</em> For the beauty.&nbsp; Algerian love song,&nbsp; sung by Sebag Yehuda, as above, accompanying himself on the &lsquo;Ud. Recorded in Jerusalem, June 1957.&nbsp; Duration 4&rsquo;30.<strong><br /><em><strong>6. THE SEVILLIAN GIRL.</strong></em></strong><em> -</em> &ldquo;I remember a beauty with a beauty mark, with enchanting dark eyes.&nbsp; Oh, that&nbsp; girl from&nbsp; Seville drove&nbsp; me&nbsp; mad --she was so beautiful.&rdquo;&nbsp; Sung in classical Maqam Seeka, this is a Moroccan love song in memory of a Sevillian beauty.&nbsp; It was sung by Sebag Yehuda, as above, accompanying himself on the &lsquo;Ud. Recorded in Jerusalem, June 1957.&nbsp; Duration 4&rsquo;25.<strong><br /><em><strong>7. WEDDING SONG.</strong></em></strong><em> -</em> Song and handclapping by a woman friend of the Tunisian Jewish family of the bridegroom.&nbsp; As usual with the Tunisian Jewish community, it was sung in Arabic to open&nbsp; the wedding ceremony and also to entertain the newly weds and their guests.&nbsp; Recorded in Safed, June 1957. Duration 4&rsquo;00.<strong><br /><strong><u>YEMEN</u><br /><em>8. LOVE SONG IN&nbsp; ARABIC. </em></strong></strong><em>-</em> Sung by Malka Aque and Shalom Assair, accompanying themselves on a kerosene tin and a Darabukka drum.&nbsp; For further information, cf. above introduction.&nbsp; Recorded in the Yemeni settlement of&nbsp;&nbsp; Yishi, south of Hartuv, June 1957.&nbsp; Duration 3.&rsquo;30.<strong><br /><em><strong>9. HEBREW WEDDING SONG. -</strong></em></strong> By a man accompanying himself on a kerosene tin, cf. above introduction.&nbsp; Recorded in Yishi, June 1957. Duration 4&rsquo;50.<br /><strong><br /><u><strong>BUKHARA</strong></u><br /><em><strong>10. PERSIAN LOVE SONG. </strong></em></strong><em>-</em> Sung by a woman member of the Bukhara Music Group and accompanied on Chang,&nbsp; Kamancha, Tambur, a brass flute and a pair of frame drums called the Doiras by other members of the Group under the leadership of Menahem Eliezacoff. For further information regarding the instruments cf. above introduction.&nbsp; Recorded in Tel Aviv, July 1957.&nbsp; Duration 4&rsquo;05.<br /><strong><br /><em><strong>11. DANCE MUSIC.</strong></em></strong><em> - </em>From Bukhara. The recording starts with the musicians looking for a theme and then the dance music&nbsp; is played&nbsp; by the Bukhara Music Group on instruments as indicated above. Recorded in Tel Aviv, July 1957.&nbsp; Duration 3&rsquo;10.<strong><br /><em><strong>12. MISKIN MODE. </strong></em></strong><em>- </em>The term &ldquo;miskin&rdquo; means sloth or slow.&nbsp; In Central Asian music, this is a popular mode and is both sung and played on instruments. Here it is being played on the spiked fiddle Kamancha by the above Group leader Menahem Eliezacoff, accompanied by a pair of frame drums called the Doiras and a pair of small cymbals. Recorded in Tel Aviv, July 1957. Duration 3&rsquo;30.<strong><br /><em><strong>13. BUKHARI RHYTHMS ON DOIRAS. </strong></em></strong><em>- </em>A set of four&nbsp; rhythms entitled Safalak, Chilagi, Ufar and Larzonak&nbsp; are played in this recording on a pair of large frame drums called the Doiras by musicians from the Bukhara Group as above. Recorded in Tel Aviv, July 1957.&nbsp; Duration 2&rsquo;15.<strong><br /><em><strong>14. SONG FOR HARVESTING FRUIT.&nbsp; </strong></em></strong>This is an Uzbek agricultural song describing the qualities of apples and grapes from Uzbekistan.&nbsp; Sung by all members of&nbsp; the Bukhara Music Group, it is accompanied by Kamancha, Chang, Tambur,&nbsp; flute and a pair of Doiras. For further information, cf. above intro&shy;duction. Recorded in Tel Aviv, July 1957.&nbsp; Duration 3&rsquo;00.<strong><br /></strong></span><span class=Soustitre2><strong>CD-2 MUSIC OF THE EUROPEAN JEWS</strong></span><span class=Texte><strong><br /></strong></span><span class=Soustitre><strong>MUSIC AND INSTRUMENTS</strong></span><span class=Texte><strong><br /></strong>The first half of this CD is devoted to the religious songs of the Ashkenazi Jews from the Ukraine and Hungary. Even though there is a certain amount of cantorial background to these songs, we have tried to select those which are usually sung at home and have a strong flavour of folk music.&nbsp; Most of these singers have been in Palestine for three generations or more.Though today the members of the European Jewish communities are found in all parts of Israel, originally, Mea Shearim, the walled quarter established around 1875, and its annexes such as the Hungarian Colony, were their strongholds in Jerusalem. Even today this quarter retains its fame in preserving the traditions of studying the Torah and its commentaries.As a contrast to the religious songs, the Police band, though manned by European musicians, represents a community concert of a popular nature. The recordings were made in June 1957 with a Tel Aviv Police band that was entertaining the settlers at Moshav Meiron, northwest of&nbsp; Upper Galilee.Mount Meiron is the highest mountain in Israel. <br />There were whispers about certain roads being closed to the public around this region in anticipation of trouble with a neighbouring territory when, quite by chance, I ran into this cheerful&nbsp; group of entertaining policemen. The band was composed of four, and, strangely enough, consisted of people from four different countries of Europe !&nbsp; As they introduced themselves, the leader, who played the concertina, came from Austria, the drummer from former Czechoslovakia, the saxophonist from Rumania, and the trumpet player from Greece. It was most interesting to see the response of the local people and their participation in the concert of the Police performers from Tel Aviv, the big city.&nbsp;&nbsp;&nbsp; The sensitive Sephardic musicians who have kept alive the tradition of Medieval Spanish ballads and romances are represented toward the end of the CD through item Nos. 8, 9 and 10.&nbsp; Thrown out of Spain along with the Moorish Muslims when the Spanish Christian rule was reinstated in the country, the Jews&nbsp; found ways of&nbsp; preserving their social and political history by means of these enchanting songs and ballads. They carried these beautiful songs wherever they went and they still do, accompanying&nbsp;&nbsp;&nbsp; their songs and ballads with the Moorish&nbsp;&nbsp; lute, the &lsquo;Ud.<strong><br /><strong><br /><u>RELIGIOUS SONGS OF THE ASHKENAZI JEWS</u></strong><br /><em><strong>1. May the temple be rebuilt. </strong></em></strong><em>-</em> Sung in Hebrew, this is a cantorial solo with interludes of group refrains. Sung by Israel Stern, with his sons Moshe and Joseph. Recorded in Jerusalem, June 1957. Duration : 8&rsquo;10<strong><br /><em><strong>2. Shema Israel. </strong></em></strong><em>-</em> Hebrew liturgical song led by Moshe and answered by his father Israel Stern. Recorded as above in Jerusalem, June 1957. Duration : 5&rsquo;20.<strong><br /><em><strong>3. I have given you&nbsp; good advice. </strong></em></strong><em>- </em>A&nbsp; song for replacing the Torah in its container. Sung by Joseph Stern as above. Jerusalem, June 1957.&nbsp; Duration : 4&rsquo;40.<strong><br /><em><strong>4. Zamo Lecho Nafsi. </strong></em></strong><em>-</em> Cantorial solo, sung by Rabbi Levinsohn.&nbsp; Recorded in Jerusalem, June 1957.&nbsp; Duration : 6&rsquo;00.<br /><strong><br /><em><strong>5. Additional prayer on the Sabbath. </strong></em></strong><em>- </em>Saying that there will be a time when all days will be like the day of the Sabbath.&nbsp; Cantorial solo, sung by Moshe Anshin.&nbsp; Born in Jerusalem, from Ukrainian parents.&nbsp; Recorded in Jerusalem, July 1957.&nbsp; Duration : 3&rsquo;35.&nbsp; <strong><br /><strong><u>ISRAELI POLICE BAND</u></strong><br /><em><strong>6. East European wedding dances. </strong></em></strong><em>- </em>A medley of popular dance music played during a community concert at Moshav Meiron on concertina, saxophone, trumpet and drums by a Tel Aviv Police Band.&nbsp; For further information, cf. above introduction.&nbsp; Recorded in Moshav Meiron, June 1957.&nbsp; Duration : 4&rsquo;15.<strong><br /><em><strong>7. Jewish melodies. </strong></em></strong><em>-</em> A medley of three instrumental items entitled Hava Nagila (Hora dance), Im Hupalnu (Song of Hope) and Zemer Lach (a Palestinian melody) played on concertina, saxophone, trumpet and drums as above by the Tel Aviv Police Band.&nbsp; Duration : 4&rsquo;15.<strong><br /><u><strong>SPANISH BALLADS</strong></u><br /><em><strong>8. Market Song. - </strong></em></strong>Accompanied by the &lsquo;Ud, the Moorish lute of five pairs of strings, these songs are like ballads in Medieval Spanish. The arrangement of the words varies from 4 or 5 stanzas to several more.&nbsp; This market song is in the form of a ballad of six stanzas, with an additional verse for the chorus which is repeated after every stanza.&nbsp; This song is in the words of a cheerful rogue of a street vendor singing in his mischievous symbolism.&nbsp; The first four stanzas mean :<br /><em>&ldquo;I am a good salesman,<br />Better than the shops.<br />The whole day I work talking to pretty girls.<br />When they ask me from their windows,<br />I call out I have good bananas.<br />I am a good salesman, I have the best fruits.<br />I go around with a cart through the streets.<br />Come here, my pretty girls, I&rsquo;ve tasty fruits,<br />I have cut them open now,<br />And they are as delicious as you.&rdquo;</em><br />Sung by Aviganim Abraham who accompanies himself and his son Haim and daughter Rifka on&nbsp; the &lsquo;Ud. For further information cf. above intro&shy;duction. Recorded in Jerusalem, July 1957.&nbsp; Duration : 6.&rsquo;50.<strong><br /><em><strong>9. The prisoner and his beloved. </strong></em></strong><em>-</em> Similar to the above ballad, this too has six stanzas but is sung&nbsp; by Aviganim Abraham alone, accompanying himself on the &lsquo;Ud.&nbsp; The words of the song begin by saying : &ldquo;I am in prison but you are in a bed of flowers.&nbsp; When my heart aches and I feel like crying, you only laugh. Pass by my prison, just for a walk, and think of my tears and my approaching death.&rdquo;&nbsp; For further information cf. above intro&shy;duction. Recorded in Jerusalem, July 1957. Duration : 6&rsquo;45.<br /><strong><br /><em><strong>10. Silken hair. </strong></em></strong><em>-</em> This is a love song sung by a family friend of the Abrahams, accompanying herself on the single-headed Moorish drum Darabukka while Aviganim Abraham played on the &lsquo;Ud. The words of the song say : &ldquo;Your hair made of silk was cut short as you came out of the hair-dresser&rsquo;s shop. My heart throbbed in joy looking at its beauty.&nbsp; Being neighbours, we will be seeing each other across the street, from our windows and balconies, with bashful eyes and smiles. And joyfully I will forget to eat.&rdquo;&nbsp;&nbsp; For further information cf. above introduction. Recorded in Jerusalem, July 1957.&nbsp; Duration : 3&rsquo;20.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />RECORDINGS, PHOTOGRAPHS &amp; TEXTDEBEN&nbsp; BHATTACHARYA<br /><strong><br /></strong>The Collector&rsquo;s grateful thanks are due toMaggie Doherty and Suri Gopalan for their help in the production of this album and to Dominique Alise for the cover picture and photographs on pp. 26 &amp; 27 taken in July 1996. <br />&copy; FRÉMEAUX &amp; ASSOCIÉS SA, 1998.<strong><br /></strong><br /></span><span class=Soustitre2>CD 1:</span><span class=Texte><br /></span><span class=Soustitre2>MUSIC OF THE ORIENTAL JEWS</span><span class=Texte><br /><u><strong>North Africa</strong></u><br /><strong>01.&nbsp; Love song in Arabic&nbsp;</strong> 3&rsquo;45<br /><strong>02.&nbsp; Maqam Seeka &nbsp;&nbsp;&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 6&rsquo;30<br /><strong>03.&nbsp; The sweetness of the earth</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;50<br /><strong>04.&nbsp; Maqam Aeirag&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&rsquo;10<br /><strong>05.&nbsp; &lsquo;Al zin</strong> 4&rsquo;30<br /><strong>06.&nbsp; The Sevillian Girl&nbsp;</strong>&nbsp;&nbsp;&nbsp; 4&rsquo;25<br /><strong>07.&nbsp; Wedding song&nbsp;</strong> 4&rsquo;00<br /><u><strong>Yemen</strong></u><br /><strong>08.&nbsp; Love song in Arabic</strong> 3&rsquo;30<br /><strong>09.&nbsp;&nbsp; Hebrew wedding song&nbsp;</strong>&nbsp; 4&rsquo;50<br /><u><strong>Bukhara</strong></u><br /><strong>10. Persian love song&nbsp;&nbsp;&nbsp;</strong>&nbsp; 4&rsquo;05<br /><strong>11. Dance Music&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;10<br /><strong>12.&nbsp; Miskin mode</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;30<br /><strong>13.&nbsp; Bukhari rhythms on Doiras&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;15<br /><strong>14. Song for harvesting fruits&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;00<br /></span><span class=Soustitre2>CD 2:<br />MUSIC OF THE EUROPEAN JEWS</span><span class=Texte><br /><u><strong>Religious songs of the Ashkenazi Jews</strong></u><br /><strong>01. May the temple be rebuilt</strong> 8&rsquo;10<br /><strong>02. Shema Israel&nbsp;&nbsp;&nbsp;</strong>&nbsp; 5&rsquo;20<br /><strong>03. Good advice</strong>&nbsp;&nbsp; 4&rsquo;40<br /><strong>04. Zamo Lecho Nafsi&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 6&rsquo;00<br /><strong>05. Additional prayer on the Sabbath&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;35<br /><u><strong>Israeli Police Band</strong></u><br /><strong>06.&nbsp; East European wedding dances</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;15<br /><strong>07.&nbsp; Jewish melodies&nbsp;&nbsp;&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp; 4&rsquo;15<br /><u><strong>Spanish Ballads</strong></u><br /><strong>08.&nbsp; The market song&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp; 6&rsquo;50<br /><strong>09.&nbsp;&nbsp; The prisoner and his beloved</strong>&nbsp;&nbsp;&nbsp; 6&rsquo;45<br /><strong>10.&nbsp; Silken hair&nbsp;&nbsp;&nbsp;</strong>&nbsp;&nbsp; 3&rsquo;20<br />Le domaine de pr&eacute;dilection de Deben Bhattacharya est la collection, le tournage et l&rsquo;enregistrement de la musique folklorique, la chanson, la danse ainsi que la musique classique en Asie et en Europe.Depuis 1955, il a r&eacute;alis&eacute; des films &eacute;ducatifs, des documentaires, des disques, des brochures, des &eacute;missions radiophoniques et des concerts en direct relatifs &agrave; ses recherches. Il a &eacute;galement &eacute;dit&eacute; des traductions de la po&eacute;sie m&eacute;di&eacute;vale de l&rsquo;Inde.Entre 1967 et 1974, il a produit des films &eacute;ducatifs, des disques, des brochures et des concerts pour des &eacute;coles et des universit&eacute;s en Su&egrave;de, sponsoris&eacute; par l&rsquo;institut d&rsquo;&eacute;tat de la musique &eacute;du&shy;cative: Rikskonsorter.Ses travaux ont &eacute;galement consist&eacute; en documentaires pour la t&eacute;l&eacute;vision ainsi que des &eacute;missions sur le folklore, les tra&shy;ditions... pour : &bull; British Broadcasting Corporation, Londres &bull; Svorigos Radio, Stockholm &bull; Norsk Rikskringkasting, Oslo &bull; B.R.T. - 3, Bruxelles &bull; Filmes ARGO (Decca), Londres &bull; Seabourne Enterprise Ltd., R.U. &bull; D&rsquo;autres stations de radio en Asie et en Europe.Deben Bhattacharya a r&eacute;alis&eacute; plus de 130 disques de musique folklorique et classique, enregistr&eacute;s dans pr&egrave;s de trente pays en Asie et en Europe. Ces disques sont sortis sous les &eacute;tiquettes suivantes : &bull;&ensp;Philips, Baarn, Hollande &bull; ARGO (Decca), Londres &bull; HMV &amp; Columbia, Londres &bull; Angel Records &amp; Westminster Records, New York &bull; OCORA, Disque BAM, Disque AZ, Contrepoint, Paris &bull; Supraphone, Prague &bull; HMV, Calcutta &bull; Nippon Records, Tokyo.Deben Bhattacharya est &eacute;galement l&rsquo;auteur de livres de traduction de la po&eacute;sie m&eacute;di&eacute;vale indienne. Ces ouvrages ont &eacute;t&eacute; pr&eacute;par&eacute;s pour la s&eacute;rie de l&rsquo;UNESCO, East-West Major Works, publi&eacute;s simultan&eacute;ment en Angleterre et aux Etats-Unis par G. Allen &amp; Unwin, Londres, et par le Grove Press, New York, ainsi que Hind Pocket Books, New Delhi. Les titres comprennent : &bull; Love Songs of Vidyapati &bull; Love Songs of Chandidas &bull; The Mirror of the Sky: songs of the bards of Bengal &bull; Songs of Krishna.Deben Bhattacharya fait para&icirc;tre en 1997, une collection de coffrets th&eacute;matiques chez Fr&eacute;meaux &amp; Associ&eacute;s, regroupant ses meilleurs enregistrements de Musique du Monde et dot&eacute;s de livrets qui constituent un appareil critique de documentation incomparable.<br /><em>Deben Bhattacharya is a specialist in collecting, filming and recording traditional music, song and dance in Asia, Europe and North Africa.Since 1955 he has been producing documentary films, records, illustrated books and radio pro&shy;grammes related to many aspects of his subject of research. His films for TV and programmes for radio on traditional music and rural life and customs have been broadcast by: &bull; the BBC, Thames Television, Channel Four, London &bull; WDR-Music TV, Cologne &bull; Sveriges Radio/TV, Stockholm &bull; BRT-3, Brussels &bull; Doordarshan-TV, Calcutta &bull; English TV, Singapore &bull; and various other radio and television stations in Asia and Europe.Deben Bhattacharya has produced more than 130 albums of traditional music recorded in about thirty countries of Asia and Europe.&nbsp; These albums have been released by: &bull; Philips, Baarn, Holland &bull; ARGO (Decca Group), London &bull; HMV &amp; Clumbia, London &bull; Angel Records &amp; Westminster, New York &bull; OCCORA, Disque BAM, Contrepoint, Paris &bull; Supraphone, Prague &bull; HMV, Calcutta &bull; Nippon-Westminster &amp; King Records, Tokyo.In addition, Deben Bhattacharya is the author of books of translations of Indian medieval poetry and songs.&nbsp; These publications have been prepared for the UNESCO&rsquo;s East-West Major Works series published simultaneously in England and the USA by G. Allen &amp; Unwin, London, and by the Grove Press, New York, and by Hind Pocket Books, New Delhi.&nbsp; The titles include: &bull; Love Songs of Vidyapati &bull; Love Songs of Chandidas &bull; The Mirror of the Sky/Songs of the Bards of Bengal &bull; Songs of Krishna.Deben Bhattacharya released a new collection of thematic double Cd Set, published by Fr&eacute;meaux &amp; Associ&eacute;s, with booklet comprising essentiel documentary and musicological information.</em><br /></span><span class=Soustitre2>CD-1:MUSIQUE DES JUIFS D&rsquo;ORIENT.</span><span class=Texte><br /><u><strong>Afrique du Nord</strong></u><br /><strong>01. Chanson d&rsquo;amour en Arabe&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;45<br /><strong>02. Maqam Seeka&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 6&rsquo;30<br /><strong>03. La douceur de la terre&nbsp;</strong>&nbsp; 4&rsquo;50<br /><strong>04. Maqam Aeirag</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&rsquo;10<br /><strong>05. &rsquo;Alzin&nbsp;&nbsp;</strong>&nbsp; 4&rsquo;30<br /><strong>06. La fille de S&eacute;ville</strong>&nbsp; 4&rsquo;25<br /><strong>07. Chanson de mariage&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;00<br /><u><strong>Yemen</strong></u><br /><strong>08. Chanson d&rsquo;amour en Arabe&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;30<br /><strong>09. Chanson de mariage en h&eacute;breux</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 4&rsquo;50<br /><u><strong>Boukhara</strong></u><br /><strong>10. Chanson d&rsquo;amour perse</strong>&nbsp;&nbsp;&nbsp; 4&rsquo;05<br /><strong>11. Musique pour danser&nbsp;</strong>&nbsp;&nbsp; 3&rsquo;10<br /><strong>12. Mode Miskin&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 3&rsquo;30<br /><strong>13. Rythmes bukhari sur Doiras</strong>&nbsp;&nbsp;&nbsp;&nbsp; 2&rsquo;15<br /><strong>14. Chanson pour la r&eacute;colte des fruits</strong> 3&rsquo;00<br /></span><span class=Soustitre2>CD-2:MUSIQUE DES JUIFS D&rsquo;EUROPE.</span><span class=Texte><br /><u><strong>Chansons religieuses des Juifs Ashk&eacute;nazes</strong></u><br /><strong>01. Puisse le temple &ecirc;tre reconstruit&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 8&rsquo;10<br /><strong>02. Shema Isra&euml;l&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 5&rsquo;20<br /><strong>03. Un bon conseil&nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp; 4&rsquo;40<br /><strong>04. Zamo Lecho Nafsi&nbsp;</strong> 6&rsquo;00<br /><strong>05. Nouvelle pri&egrave;re pour le jour du Sabbat&nbsp;&nbsp;&nbsp;</strong>&nbsp;&nbsp; 3&rsquo;35<br /><u><strong>Groupe de la Police isra&euml;lienne</strong></u><br /><strong>06. Danses de mariage d&rsquo;Europe de l&rsquo;Est</strong>  4&rsquo;15<br /><strong>07. M&eacute;lodies Juives&nbsp;</strong>&nbsp;&nbsp; 4&rsquo;15<br /><u><strong>Ballades espagnoles</strong></u><br /><strong>08. Chanson du march&eacute; &nbsp;&nbsp;</strong>&nbsp;&nbsp;&nbsp; 6&rsquo;50<br /><strong>09.Le prisonnier et sa bien-aim&eacute;e</strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 6&rsquo;45<br /><strong>10. Cheveux de soie</strong>&nbsp;&nbsp; 3&rsquo;20<br /></span><span class=Texte><br /></span><span class=Source>CD World Music from Israel &copy; Fr&eacute;meaux &amp; Associ&eacute;s (fr&eacute;meaux, fr&eacute;maux, fr&eacute;mau, fr&eacute;maud, fr&eacute;mault, fr&eacute;mo, fr&eacute;mont, fermeaux, fremeaux, fremaux, fremau, fremaud, fremault, fremo, fremont,&nbsp;CD audio, 78 tours, disques anciens, CD &agrave; acheter, &eacute;couter des vieux enregistrements, albums, r&eacute;&eacute;ditions, anthologies ou int&eacute;grales sont disponibles sous forme de CD et par t&eacute;l&eacute;chargement.)</span></p><strong>    </strong>"
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    }
    -methodCacheResults: []
  }
  4 => ProductListingLazyArray {#712
    -imageRetriever: ImageRetriever {#705
      -link: Link {#165}
    }
    -link: Link {#165}
    -priceFormatter: PriceFormatter {#707}
    -productColorsRetriever: ProductColorsRetriever {#708}
    -translator: TranslatorComponent {#45}
    #settings: ProductPresentationSettings {#709
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      +catalog_mode_with_prices: 0
      +restricted_country_mode: null
      +include_taxes: true
      +allow_add_variant_to_cart_from_listing: 1
      +stock_management_enabled: "0"
      +showPrices: true
      +lastRemainingItems: "3"
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    -language: Language {#40}
    -arrayAccessList: ArrayObject {#623
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