Download And We're All Brothers: Singing in Yiddish in Contemporary by Abigail Wood PDF

By Abigail Wood

The sunrise of the twenty-first century marked a turning interval for American Yiddish tradition. The 'Old international' of Yiddish-speaking japanese Europe was once fading from residing reminiscence - but while, Yiddish music loved a renaissance of inventive curiosity, either between a more youthful iteration looking reengagement with the Yiddish language, and, so much prominently through the transnational revival of klezmer song. The final sector of the 20 th century and the early years of the twenty-first observed a gentle circulate of recent songbook guides and recordings in Yiddish - newly composed songs, famous singers appearing nostalgic favourites, American well known songs translated into Yiddish, theatre songs, or even a number of forays into Yiddish hip hop; musicians in the meantime engaged with discourses of musical revival, post-Holocaust cultural politics, the transformation of language use, radical alterity and a brand new iteration of yank Jewish identities. This publication explores how Yiddish music turned any such effective medium for musical and ideological creativity on the twilight of the 20th century, featuring an episode within the flowing timeline of a musical repertory - manhattan on the sunrise of the twenty-first century - and outlining many of the trajectories that Yiddish track and its singers have taken to, and past, this element.

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Additional resources for And We're All Brothers: Singing in Yiddish in Contemporary North America

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Later Adrienne Cooper, accompanied by Margot Leverett and Zalmen Mlotek, sang ‘Mayn shvester Khaye’ (My sister Khaye). Like ‘Unter di khurves fun Polyn’, the text of this song was written after the Holocaust, by poet Binem Heller. His poem was recently set to music by Israeli singer Chava Alberstein as part of her cycle of new song settings of verse by twentieth-century Yiddish poets ‘Di krenitze’ (The well), recorded with the Klezmatics in 1998; this version quickly entered the contemporary Yiddish song canon.

Later Adrienne Cooper, accompanied by Margot Leverett and Zalmen Mlotek, sang ‘Mayn shvester Khaye’ (My sister Khaye). Like ‘Unter di khurves fun Polyn’, the text of this song was written after the Holocaust, by poet Binem Heller. His poem was recently set to music by Israeli singer Chava Alberstein as part of her cycle of new song settings of verse by twentieth-century Yiddish poets ‘Di krenitze’ (The well), recorded with the Klezmatics in 1998; this version quickly entered the contemporary Yiddish song canon.

1997), one of only a few commercial Yiddish choral recordings. Symbolically, the final song of the programme was a fully participatory moment. ’ served a twofold meaning. First, the use of the first person identifies the choir with the partisans who are the protagonists of the song, the fight of the partisans analogised to, and affording historical urgency and legitimacy to the struggle to stem the decline of Yiddish. Second, however, the phrase is re-read into the present, proclaiming that Yiddish and its speakers are still here.

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