Tapping into the ‘Golden Age’ of cantorial music for the 21st century

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Ordained Chabad rabbi and cantor Aryeh Leib Hurwitz has traveled the world honing his voice and performing skills, and is now part of an effort to revive the classic tradition of “chazzonus,” the quasi-operatic Jewish music of more than a century ago. Photo: With jazz backup, Cantor Aryeh Leib Hurwitz sings “Sheyibone,” a fundamental Jewish prayer beseeching G-d to rebuild the Beit Hamikdash (Holy Temple), ushering in a period of global unity and harmony. Credit: Courtesy.

BY  Carin M. Smilk

Aryeh Leib Hurwitz is attuned to all things musical. A chazzan (“cantor”) and ordained Chabad rabbi born and raised in Brooklyn, N.Y., he studied at yeshivahs around the world while honing his voice and performing skills. The 29-year-old father of nearly 3-year-old twins has been on stage in Berlin and Johannesburg. He has sung before NBA crowds. He can belt out familiar pieces from “Fiddler on the Roof” and “Les Misérables,” croon at weddings and headline a jazz band. And, of course, he sings in synagogue during the High Holidays in the classic tradition of chazzonus, the quasi-operatic Jewish music of more than a century ago—music that transports listeners back to a time before great human sound wasn’t accessible by the click of a button.

Here, he shares a bit about himself and the Eastern European musical tradition that is his hallmark.

Q: Is cantorial music entertainment, spiritual nourishment or both, and how so?

A: In the 19th century, cantorial music was the only form of Jewish entertainment. You looked forward to going to the synagogue to hear your favorite cantor perform, and with that, receive spiritual nourishment. Of course, that changed significantly over the decades, in time and place. Today, cantorial music is an art performed globally on the High Holidays. However, its art is beautiful year-round, and still plays the role of both entertainment and spiritual nourishment in various communities around the globe.

Q:  How has cantorial music changed in the past two decades since the turn of the 21st century?

A: The golden age of chazzonus was in the early 1900s. There’s been a major decline since the likes of Josef “Yossele” Rosenblatt, Moishe Oysher, Moshe Koussevitzky and so on. Having said that, since the turn of the century there has been a nice comeback unfolding. With cantorial music now available with the click of a button (YouTube) and people appropriating culture, there are many different occasions where cantorial music is on display.

Q: What is its role in Jewish life?

A: The cantor is the shliach tzibbur, the “representative of the community.” Their job is to pray to the Almighty on their behalf. Cantorial music is the tool that the chazzan uses to spiritually connect the congregant with the God. That’s why it’s largely associated with the High Holidays and life-cycle milestones.

Q: Does cantorial music have a special role during the High Holidays?

A: Yes. It’s the highest of holidays. The time to connect to God makes it all the more essential. On a technical level, the prayers are less known. So it’s important that the quarterback—aka, the cantor—knows the rules, the prayers and the songs.

Cantor Aryeh Leib Hurwitz (left) at the Berliner Philharmonie in Germany, home of the Berlin Philharmonic Orchestra, with a 70-piece orchestra. To his right is Michael Zukernik, conductor of the Philharmonic Chamber Orchestra in Berlin.

Q: Is cantorial music meant to affect the worshipper? Does it complement prayer, or is it singular in nature?

A: Cantorial music is based in the essence of nusach ha’tefillah, the “modes of the prayers,” which were passed down generations since the time of the Temple in Jerusalem. There is holiness in the music. When used in its true form, it absolutely affects the worshipper, as it also compliments the prayer.

Q: What is the voice range of a cantor? Are they mostly tenors?

A: Most have been tenors, historically, like the “Cantors of the Golden Age.” I am a tenor. But today, it’s more common to be a baritone … I would say maybe 25 percent of cantors today are baritones. And, of course, within those general definitions are different types and ranges.

Q: What is the difference between the concert chazzan and the synagogue chazzan?

A: Let’s start with the important job of the synagogue chazzan. The chazzan is sincere, humble and with a sweet voice pours his heart out to the Almighty. The concert chazzan can be a true entertainer, or he can be a synagogue cantor giving a concert. Does the music fit with nusach ha’tefillah? Is it a piece that connects one spiritually? Or is it a piece that is a joy to listen to?
The greats did both at a high level.

Q: Do niggunim and cantorial music serve different purposes?

A: Completely. Niggunim is Jewish music meant for everyone to join in and be inspired together. Cantorial niggunim is an art that is best done with the participants silent.

Q: What does music mean to you and your religious life?

A: Music is a tool to connect. Unlike many career musicians, for a religious Jew, music is another form of serving God, whether dance music, classical music or cantorial music.

Q: What are your most memorable moments on stage?

A: My most memorable moments were certainly singing as the very first cantor ever to perform a Jewish song in the main hall of one of the most prestigious halls in the world—the Berliner Philharmonie in Germany, home of the Berlin Philharmonic Orchestra—with a 70-piece orchestra. I was also fortunate enough to perform in three cantorial concerts in Johannesburg, South Africa. And to perform the national anthem, “The Star-Spangled Banner,” before two different NBA games for “Jewish Heritage Night” events: for the Utah Jazz in Salt Lake City and the Brooklyn Nets at the Barclays Center in New York City.

Q: Who is your musical role model?

A: So many … if I had to choose one: Moshe Koussevitzky. He served as a cantor in Vilna and Warsaw, escaping the Nazis with his family during the Holocaust by fleeing to the Soviet Union. They came to the United States in 1947; five years later, he became cantor of Temple Beth-El in Borough Park (Brooklyn). He was one of four brothers, all cantors. In December 1947, they sang together in a concert at Carnegie Hall.

Q: Do strong voices run in families?

A: They certainly can, yes. Parents, siblings, children can all have beautiful voices. I have a brother who’s a wedding singer. I come from a family with musical lines. But it is an art to be studied. The cantorial greats, they worked to refine their voices.

Q: Do you have a favorite music city?

A: Nashville, Tennessee. I have performed a few times there and will be going again. It’s an entire city that has an appreciation of and love for music—all music. I find that fascinating.


This Is Your Brain On Music

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USC’s Dr. Assal Habibi has been studying the brains of 80 kids for five years in the hopes of answering the question: does studying music enhance brain function? We’ll soon find out.

Einstein is famous for his theory of relativity. But, as we saw in the recent series Genius, he was also a gifted violinist. Did that make him a better mathematician and scientist? Specifically, did studying music enhance and change his brain?

That’s what Dr. Assal Habibi, a research scientist at USC’s Brain and Creativity Institute wants to find out; she’s using electrophysiologic and neuroimaging methods to investigate human brain function. She’s not using Einstein’s brain (although pieces of it are still in existence), but the brains of 80 children, who have been with the Brain and Music study since 2012, when they were 6 and 7 years old.

One-third of the young subjects, who were told the MRI machine is a spaceship of sorts, are studying music with the Los Angeles Philharmonic youth orchestra (YOLA) at the Heart of Los Angeles (HOLA). The study wraps up this summer, so PCMag went to USC to speak with Dr. Habibi and find out how, in the light of the quantified-self movement, music is crucial for brain development.

Los Angeles Philharmonic youth orchestra (YOLA)

Firstly, tell us the original hypothesis of this study.
The idea behind the study was to see whether systematic music training has a measurable impact on the brains of children and the subsequent development of their cognitive skills and social skills.

Who funded this study? Was it the National Institutes of Health?
No, it was funded privately. Some of it from internal sources here at the Brain and Creativity Institute, and some from generous and anonymous donors.

Before we get on to the practicalities of the scientific method, talk about the music part.
The Los Angeles Philharmonic youth orchestra (YOLA) was established in 2007 by the LA Phil’s Music and Artistic Director, Gustavo Dudamel. It serves hundreds of students age 6 to 18, who attend four days each week. Students also perform annually at the Walt Disney Concert Hall, have appeared several times at the iconic Hollywood Bowl and, memorably, accompanied Coldplay at the Pepsi Super Bowl 50 Halftime Show [in 2016].

But this isn’t a conservatory program to find mini Mozarts?
No, the program is not about producing musical prodigies or stars. The children are told the goal is to build a cohesive group that produces beautiful sounds; that when they play, they also help each other, so the orchestra can exist as a singular unit.

Which builds their socio-emotive skillset anyway.
Exactly. Gustavo Dudamel brought the program to LA because he was trained with and inspired by a similar one in his native Venezuela called “El Sistema,” started by Maestro José Antonio Abreu, who recently passed away. This was a social and economic program, not to build great musicians, but to build good citizens.

Great. Let’s go through the practical, scientific aspects of your methods now.
The design of the study includes three groups: one group is systematically studying music with YOLA/HOLA, the other group is doing something equally engaging on a regular basis, but it’s not music-based, it is athletic-based such a soccer or swimming, while the third is a control group.

To clarify, the control group are not studying music or doing anything on a regular basis which might improve their brain?
The participants from the control group, when we started the study, were not about to begin a systematic music or sports training program. We, of course, did not tell them that they can’t but instead every year we interview them and their parents, and if they have been engaged in either of the two activities with the frequency that is comparable to the other two groups, we did not include them in our analysis.

Kid on Guitar, Music

With the three groups allotted, you then established a baseline?
Yes. We did a series of tests, including MRI and an electroencephalography (EEG) to detect electrical activity in the brain, while recording a range of cognitive, social, and behavioral indicators. We found, at age 6 to 7, when we started the study, there were no statistically different results between the three groups of 80 children in total.

How often, during the course of the research study, did you re-test everyone?
We do the MRI scan every other year, on every child, and the other tests, including the EEG every year.

Music BrainAs an aside, how did you get 6-year-olds into a scary MRI machine?
We make it very child-friendly, aesthetically, and we sometimes had to tell them that the scanner is like a supersonic space shuttle. We also do a lot of training and practice sessions with them in a mock scanner to get them comfortable with the space.

So ‘You’re not going into outer space, this is an internal journey to the center of your head?’
Something like that. They also all get a brain scan, framed, to take home.

What are the tests they do inside the MRI?
There are several but a key one identifies decision-making brain region changes. Here’s how it works: they see the word “red” and it’s colored red. But then, when they see it again, the word red is colored green, but we still want them to say the color of the word, in this case “red.” It’s hard because one has to inhibit the original impulse of reading the word and think through the test. Activity related to this inhibition shows up in the frontal regions of the brain responsible for decision-making, and attention circuits in the medial area.

And you saw clear differences between the children studying music and the others? 
We saw stronger brain activation in these frontal regions when comparing the incongruent conditions (word red in color green) to the congruent conditions (red in color red).

What else are you looking for each time?
With the MRI, in addition to functional imaging, we are looking at the structural changes in the brain: growth in the cortical thickness, or the volume of the area, and how the areas are connected to each other through white matter.

Music Brain

You can’t spot a new neural network being formed, though?
No, you cannot actually see a neural network because it’s too small, but you can see the white matter connectivity; for example in the corpus callosum which connects the two hemispheres of the brain. We can see how that changes over time; whether the connectivity is more robust or not, which indicated integration and communication between the two sides of the brain.

As your study is coming to the end of its five-year span, can you give us a sneak peek of your results? Did you prove your hypothesis?
Yes. We’ve just finished testing the last participant and now we are going to release the final year of results for this study. With five years of data, we are now looking for differences between the groups of children in executive function measures such as impulse control, working memory, task switching ability and more.

What’s next for this research study?
We’re also interested in using these results as an indicator of future development. Especially in the brain changes which will act as a preventative mechanism, looking forward to the pressures they’ll have at middle school, and into high school. Then it becomes, not “Do I eat this candy now, or wait?” but “Do I show up to class today?” or “Do I join this peer group which is experimenting with drugs?” i.e. decision making that has an enormous effect on their future.



Singer, composer and music producer Shim Craimer tunes in to ‘aliyah’

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His newest song, “Tziyon,” originally produced as a closing-credits song for an Israeli movie yet to be released, will be set to a music video of his family’s aliyah, produced in partnership with Nefesh B’Nefesh. Photo: Shim Craimer performing. Credit: Courtesy.

Shim Craimer, whose dulcet tones and high energy have secured him a place as a sought-after Jewish musical performer, has sung at hundreds of weddings in the New York area and in his native London over the past two decades. But that’s just one of his jobs.

The 40-year-old has utilized his trained tenor voice to work with many fellow Jewish performers; and composed and produced multiple studio recordings, including an “Israel at 60” collaboration with his close friend Rabbi Lord Jonathan Sacks that garnered 3 million hits on YouTube. He’s also featured in several music videos.

He has also worked as music director at SAR Academy, and a music and media instructor at Torah Academy of Bergen County in New Jersey.

In fact, he’s all these things and more. And soon, he is moving to Israel.

His newest song, “Tziyon,” which was originally produced as a closing credits’ song for an Israeli movie that has yet to be released, will be set to a music video of his family’s aliyah, produced in partnership with Nefesh B’Nefesh. His family’s move to Israel this summer will be on a charter flight with 232 other North American new immigrants. (The flight is organized by Nefesh B’Nefesh in cooperation with Israel’s Ministry of Aliyah and Integration, the Jewish Agency for Israel, Keren Keyemeth Le’Israel and JNF-USA.)

Shim Craimer’s newest song, “Tziyon,” originally produced as a closing credits’ song for an Israeli movie that has yet to be released, will be set to a music video of his family’s aliyah. Credit: Courtesy.

Family and career grows

The Craimer family moved to Riverdale, in the Bronx borough of New York City, in 2003. Trained at a music school in London and a member of the Ner Yisroel Community synagogue in Hendon, he served as chazzanat the Edgware United Synagogue—one of the biggest congregations in the United Kingdom—before relocating to the Riverdale Jewish Center after one of its members heard him sing at a friend’s wedding in the United States, and brought him to Riverdale for a Shabbat where he was offered the job that night. He and his wife, Ruthie, had just one child, Uri, at the time. After 15 years, their family now includes twins Ben and Eli, and daughter Mia.

Being part of a community that welcomed the young British couple who were “coming for a year, maximum,” while they waited to see if Craimer’s musical career would take off, he says the years were good to them. The synagogue relationship, in particular, has been amazing, he adds.

“It never felt like a job to work at the Riverdale Jewish Center. Fifteen years later, we are still here,” he says.

Ruthie became a beloved early-childhood teacher at SAR Academy, and her husband’s career as a musician employed day and night reached heights they never imagined, resulting in Craimer’s freelance collaboration with many of New York’s busiest Jewish bands, including Neshoma Orchestra, Kol Play, the Ike Walkover band and Aaron Teitelbaum Orchestra, as well as many fellow cantors and commercially successful Jewish singers. In the past few years, he saw success in his own compositions and musical productions, even incorporating his twin sons to sing on his albums.

This twins sang on his just-released video, “Tzaddik Katamar,” from his latest album “Forever More/Me’atah V’ad Olam.” He released a video to the title track “Forever More” last year. Every song on the album is his own composition.

In fact, the opportunities in New York were so varied and so good, he notes, that it became increasingly difficult to consider going home to London, even as virtually all of Ruthie’s family has made aliyah in the years since. “In the time that we’ve been in Riverdale, we have always had in the back of our minds … Israel. If we had gone in 2003 to Israel, the kesher [community] that I have with the Jewish world would have been very different.”

Shim Craimer with his family at the Western Wall. His family’s aliyah this summer will be on a charter flight with 232 other North American olim. Credit: Courtesy.

Planning for the move to Israel

The Craimers decided to make aliyah when they were visiting Israel last year, deciding they had many family members and friends in Israel that they didn’t want to have anywhere else as a base. Their wish to be closer to family was a key factor in their decision. Craimer’s song “Tziyon” was composed on that trip, and he remembered the moments he wrote it and the thoughts it crystallized. “It’s about how amazing Israel is in my eyes. Nefesh B’Nefesh is sharing it as a video diary of our aliyah,” he says.

They plan to move to Modi’in, in central Israel, where Ruthie aims to open an early-childhood center, or gan. But Craimer’s roots have grown so strong in New York that they’re not pulling up entirely. “I’ve worked out with the Riverdale Jewish Center to come back once a month to daven for Shabbat, and for Rosh Hashanah and Yom Kippur, and for one Yom Tov a year,” with the flexibility to schedule his smachot and musical gigs in the United States around the weekend he comes to New York. He also plans to stay for an extra Shabbat a few times a year to allow for guest chazzan appearances in other synagogues around the country.

Another benefit of living in Israel is that Craimer will have access to other types of opportunities, in terms of vocal performance and teaching. He is already booked at cantorial concerts, which is a market he didn’t delve into much in the States, and at weddings he is already sought after for what he calls the “chutznik” market. (Chutzniks are English-speaking Israelis or those visiting Israel to make a wedding or bar mitzvah who seek an American-style event.) A band he has worked with often, Kol Play, is now setting up an Israeli office, and will be booking gigs for him in the United States, London and Israel.

Conducting a new children’s chorus

Perhaps the most exciting new aspect of Craimer’s developing career is in conducting and mentoring. He is involved in the early stages of the creation of a new vocal-based program called Shir Ha’Am, a nonprofit chorus following the idea of the Young People’s Chorus, based near Lincoln Center, which was established by Conductor Francisco Núñez for disadvantaged children. Craimer said he was approached by a Chicago-based philanthropist who wants to set up a similar program in Israel.

Craimer was taken with the idea, and is impressed by how well the Young People’s Chorus has done. “It started with seven at-risk kids in the basement of a church. Now it has 450 kids who come there two to three times a week,” he says. “It’s now the hardest choir to be a part of in the United States.”

The concept of the Israeli chorus will be to welcome children ages 10 to 19 who are into music, and who can potentially benefit from instruction, companionship or mentorship opportunities. The plan, he says, is to create three different performance groups: “one for boys, one for girls, and one mixed boys and girls, so we are open to everyone. They will perform at hospitals and rehab centers, and hopefully become self-sustaining and [get] some government funding.”

Is this Craimer’s biggest aspiration, to create such a choir to improve the lives of at-risk youth in Israel? “I am at a different stage now, developing goals. I am still very busy with davening, performing and smachot, but you have to keep evolving. There is a lot more competition in terms of being able to put out as much as you can in terms of your compositions; you need to be more versatile.”

“When I reach my 70s, I want to, of course, have had a successful musical career, but also I want to have this opportunity to start something, to begin something like this,” says the musical multi-tasker. “The idea has been born, so it would be amazing to see it happen.”



El Cancionero Tradicional Judeo-Español – Eleonora Noga Alberti

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Estimados colegas y lectores:

Comparto con alegría un trabajo que ocupó más de la mitad de mi vida y que concluí hace algo más de veinte años, mi Tesis Doctoral.

Acabada, el 31 de marzo de 1997, defendida y aprobada el 16 de abril de 1998 ante el jurado formado por el Dr. Rodolfo Buzón, la Lic. Clara Cortazar y el Prof. Aquilino Suárez Pallasá. Me acompañaron en ese acto, mi familia, antiguos compañeros universitarios, colegas, amigos y profesores. El veredicto incluyó la recomendación de su publicación. Difícil de imprimir un escrito tan extenso.

La lectura de un artículo de la Dra. Silvina Luz Mansillam llevó a reflexionar sobre la necesidad de hacerla pública.

Al volver a hojearla noté las dificultades que entonces, también ahora, representa para un musicólogo -sin formación en filología o lingüística- la transcripción del judeoespañol. Lo mismo ocurre con la transliteración de las palabras del hebreo al alfabeto latino. He decidido mostrarla tal como ha sido aprobada. Una de las características que le dieron significado mayor a este estudio fue la de haber investigado el fenómeno de la tradición oral judeoespañola en el ámbito de la así llamada
diáspora secundaria sefardí.

La obra ha sido inscripta en la DNDA (Dirección Nacional de Derechos de Autor) de la República Argentina con el nº RE-2018-05959639-APN-DNDA#MJ del 6 de febrero de 2018. Toda mención, cita y/o texto o transcripción musical tomados de la misma deberán hacer figurar esta fuente y el nombre de la autora. Ojalá que el facilitar el acceso a estos materiales sirva de base y despierte nuevas inquietudes y búsquedas.


Gale Kissin sings “Mame Loshn”

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Few recordings so well selected, so clearly interpreted, and so significative as this one:

Gale Kissin sings Mama Loshn

15 songs that illustrate Jewish life and struggles through the last 300 years!

I was afraid that America would not be able to rescue the real soul of Yiddish Music both because of self-imposed censorship, simple ignorance, poor pronunciation and bad memory but Gale came as a breath of fresh air to prove me wrong, and just in time when others seem so apathetic to our culture and national memory she comes out of the blue with this selection

From popular songs such as Chanuke’s “Kleine Lichtalach” to “Venga Jaleo” straight out of the Spanish Civil war collection of Jewish fighters’ music this CD brings home the best in Jewish music for those who appreciate our history.

Songs of tradition, songs of children, mothers, women rights, love, history, a collage of everything you need to listen to travel through history.

We seldom mix books with records but this week we have two books and this CD to mix because together they will bring self-pride, culture and history right into your living room.

If possible you should read “Who will write our History” by Samuel Kassow, but above all you should read Twenty Years with the Jewish Labor Bund: A Memoir of Interwar Poland, By Bernard Goldstein, where so many of these songs come alive in their pages ranging from Yiddishe Mame to Venga Jaleo each song, each word in the CD links perfectly to the stories of self-defense, tikun olam and hope that encompassed Jews in the XX century.

Click here to Listen!

Gale Kissin sings Mama Loshn can be purchased in CD by sending an email to [email protected] or visiting the website mamaloshnmusic.org.
The cost is $15.00 with $5.00 being donated to the Jewish Community Free Clinic serving the uninsured and under insured folks in Sonoma County, CA. Payments by check and credit card are accepted.

Colección musical de Peisaj

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Peisaj es una festividad de 8 días de duración (7 días en Israel). Su nombre deriva del hecho que durante la última plaga – la muerte de primogénito – Dios “pasó por sobre” las casas judías.

Aquí les compartimos canciones para celebrar esta gran fiesta de la libertad…


Fuerza De un Manantial – Saul Suli (Kadima)

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Después de meses de trabajo para esta hermosa producción por fin queda lista.

¿Alguna vez has interactuado con ángeles?

¡Bueno esta vez me tocó conocerlos de cerca!

Yo venía con la mentalidad de dar fortaleza a los niños, pero al final, el que salió fortalecido fui yo. Los niños nos dan la fuerza y provocan el cambio; nosotros tenemos que aprender de ellos y de sus papás quienes juntos avanzan en su proceso de rehabilitación.

Gracias KADIMA A.C por darme la oportunidad de poder aportar un granito de mi tiempo a esta Hermosa institución y convivir con estos ángeles.

“Nuestras mentes son tan diferentes como nuestros rostros: todos viajamos hacia el mismo destino – La felicidad; pero son muy pocos los que toman el mismo camino”.

Saul Suli


Facebook & Facebook Fans Page : saul suli
CANCION : Fuerza De un Manantial
LETRA Y GUION : Rajel CH sacal
COMPOSITOR : Eliasaf Sacal
GRABACION Y MASTERIZACION : Studio 46 by Emilio Betech

Donate your records

SaveTheMusic.com lanza nuevo programa mundial para rescatar los tesoros de la música

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Si tienes discos, cintas, libros, casetes comerciales o familiares de música en Djudeo Español oprime aquí para enviar a alguien a recogerlos.

Si quieres ayudar envía tu donativo hoy mismo (cualquier cantidad ayuda), oprime aquí.

¿Qué haremos con este dinero?

  1. Localizar la música alrededor de todo el mundo
  2. Traerla a las oficinas de STM
  3. Digitalizarla
  4. Localizar libros con el texto y la partitura original
  5. Publicar las colecciones en STM para acceso gratuito a escuelas, músicos y toda persona interesada en el tema para producir nuevos intérpretes, nuevos valores, nuevos creadores que ayuden a garantizar la sobrevivencia de esta cultura milenaria.

Para ver un ejemplo de lo que haremos y las múltiples versiones y plataformas digitales que usaremos para esta campañas pueden visitar esta colección de SaveTheMusic Yiddish, creada con el apoyo de la Fundación Roman y Rivke Wajsfeld y decenas de donadores de todo el mundo.

The Amazing History of Klezmer Music

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This is a brief clip which describes the origins and development of this unique music genre.

Who is helping us?

Who is helping us?

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Save the Music would like to thank all of our contributors for doing their part to preserve Folk music.


For its initial design, structural development, hosting and promotional strategies, Save The Music has been partially sponsored by the Internet Development Fund (a California 501 C3 Corporation) and other generous contributors.


  • Maya and Gil Ajzen
  • Anonymous
    In Honor of Gary Smith
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    In Honor of Mario Will & Matt Correa
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    In Honor of Paul Karoly
  • Earl Allen
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  • Newton and Rochelle Becker Family Foundation
  • Debora Burns
  • Audrey L. Chaffie In Honor of Robert M. Malley
  • Samuel L. Clementi In Honor of Robert M. Malley
  • Teodoro Constantiner
  • Francis Daly
  • C. De Filippo In Honor of Robert M. Malley
  • Warren L Dennis
  • Allison Denny
  • Arkady Divinsky, Kyrgyzstan
  • Patricia Donovan
  • Gail B. Dowd In Honor of Robert M. Malley
  • Brad and Melissa Easly
  • Debora & Irving Eiferman
  • Felicia Erlich
  • Karol Freed
  • Teresa Galloghy
  • Mr. & Mrs. Philip H. Garver Robert Michael Malley
  • Monica Gebell In Honor of Robert M. Malley
  • Beth Gerofsky
  • Lucy Goldman
  • Gregorio Goldstein
  • Bernardo Gress
  • Jonathan Grinstein
  • Garon Grottke
  • Caroline Gruber
  • Steven Handler
  • Maggi Harrison
  • Hebrew Union College – Klau Library
  • Felipe Herszenborn
  • Owen Sonny Igoe
  • Tommy Igoe In Memory of Owen
  • Patricia Ingraham
  • Carol and Madeline Jacob, Brooklyn NY
  • Bruce N. Kesler
  • Bruce N. Kesler
  • Thomas Kenney
  • Kev, Bon, Kate, Nick & Abby Rose Kieler In memory of David Fegley (2-17-06)
  • Helen Kolodny
  • L. Korit
  • Samy Krumholtz
  • Barbara Langham
  • Mariam Lemberg
  • Frank Lin (From Taiwan)
  • Susan Lobst
  • Cindy Mack In Honor of Robert M. Malley
  • O.W.Maxey Jr. in memory of Vernon Roessler
  • Rose Manelowitz
  • Ann Maroun
    In Honor of Jerry Johnson
  • Albert Martson
  • Andrew and Marilyn Mandell In Honor of Samuel Mandell
  • Karen Martin on behalf of Robert Carter Evans
  • Stanley Martin
  • Eileen Mayo, Stacie Myers and Mary Ann O’Brien
    In memory of Daniel Horan
  • Mr. & Mrs. Michael R. Mc Evoy In Honor of Robert M. Malley
  • Peggy McConnel
  • Patrick M McGraw
  • Cory Meyer
  • Stacie Meyers
  • Deanne Miller In Honor of Matt Briggs
  • Leonard Mordfin
  • Donald Nickason In Honor of Robert M. Malley
  • Anne Olson
  • Aaron Paley
  • Hale Porter
  • Alan Progulske
  • Emilio Puzo In Honor of Owen
  • Jay, Vicki, Jerry, Kim
    In memory of Edward Rashbaum
  • C. Reines-Graubard
  • Sidney Rimmer
  • David Rose
  • Jack Rosenfeld
  • Vera Rosenthal In Honor of Hans Jorg Rosenthal
  • Phillip B. Roth
  • Arnona Rudavsky
  • Sutherland High School Concert Choir & his Director Karie Schroer Templeton In Honor of Robert M. Malley
  • Michael Scott
  • Richard Shirey
  • Emily Shirley
  • David Shteremberg
  • Brian Smith
  • Ken Schneider
  • Joseph Stack
  • Eric Stashak
  • Beth Tallman
  • Emmanuel Tward
  • Victor Chamber Of Commerce in memory of Robert M. Malley
  • Alfredo Jr. y Patricia Vitela in memory of Vernon Roessler
  • Lauren Volden
  • Roman and Rivke Wajsfeld
  • Eva Weiner
  • Elozor L. Weiss
  • James Whistler
  • Sherman Winthrop
  • Edmond and Florence Woller in memory of Vermon Otto Roessler
  • Lillian Zilberszweig
  • Hunter Zupnick

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