Klezmer#Style

The term {{transliteration|yi|klezmer}}, as used in the Yiddish language, has a Hebrew etymology: klei, meaning "tools, utensils or instruments of" and zemer, "melody"; leading to k'lei zemer {{Script/Hebrew|כְּלֵי זֶמֶר}}, meaning "musical instruments". This expression would have been familiar to literate Jews across the diaspora, not only Ashkenazi Jews in Eastern Europe.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=61–67}} Over time the usage of "{{transliteration|yi|klezmer}}" in a Yiddish context evolved to describe musicians instead of their instruments, first in Bohemia in the second half of the sixteenth century and then in Poland, possibly as a response to the new status of the musicians who were at that time forming professional guilds. Previously the musician may have been referred to as a {{transliteration|yi|lets}} ({{lang|yi|לץ}}) or other terms.{{cite web |last=Feldman |first1=Zev |title=Music: Traditional and Instrumental Music |url=https://yivoencyclopedia.org/article.aspx/Music/Traditional_and_Instrumental_Music |website=YIVO Encyclopedia |publisher=YIVO Institute |access-date=20 June 2021}}{{cite book |last=Liptzin |first=Solomon |title=A history of Yiddish literature |date=1972 |publisher=Jonathan David |location=Middle Village, N.Y. |isbn=0824601246}} After the term {{transliteration|yi|klezmer}} became the preferred term for these professional musicians in Yiddish-speaking Eastern Europe, other types of musicians were more commonly known as {{transliteration|yi|muziker}} or {{transliteration|yi|muzikant}}.

It was not until the late 20th century that the word "klezmer" became a commonly known English-language term.{{cite journal |last=Schultz |first=Julia |title=The impact of Yiddish on the English language: An overview of lexical borrowing in the variety of subject areas and spheres of life influenced by Yiddish over time |journal=English Today |date=September 2019 |volume=35 |issue=3 |pages=2–7 |doi=10.1017/S0266078418000494|s2cid=150270104 }} During that time, through metonymy it came to refer not only to the musician but to the musical genre they played, a meaning which it had not had in Yiddish.{{cite book |last=Alexander |first=Phil |title=Sounding Jewish in Berlin: klezmer music and the contemporary city |date=2021 |publisher=Oxford University Press |location=Oxford New York, [New York] |isbn=9780190064433 |page=87}}{{cite book |last=Slobin |first=Mark |title=Fiddler on the move: exploring the klezmer world |date=2000 |publisher=Oxford University Press |location=Oxford |isbn=9780195161809 |page=6}}{{cite journal |last=Netsky |first=Hankus |title=An overview of klezmer music and its development in the U.S. |journal=Judaism |date=Winter 1998 |volume=47 |issue=1 |pages=5–12}} Early 20th century recording industry materials and other writings had referred to it as Hebrew, Jewish, or Yiddish dance music, or sometimes using the Yiddish term Freilech music ("Cheerful music").

Twentieth century Russian scholars sometimes used the term klezmer; Ivan Lipaev did not use it, but Moisei Beregovsky did when publishing in Yiddish or Ukrainian.

The first{{citation needed|date=January 2022}} postwar recordings to use the term "klezmer" to refer to the music were The Klezmorim's East Side Wedding and Streets of Gold in 1977/78, followed by Andy Statman and Zev Feldman's Jewish Klezmer Music in 1979.{{citation needed|date=January 2022}}

The traditional style of playing klezmer music, including tone, typical cadences, and ornamentation, sets it apart from other genres.{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |page=176}} Although klezmer music emerged from a larger Eastern European Jewish musical culture that included Jewish cantorial music, Hasidic Niguns, and later Yiddish theatre music, it also borrowed from the surrounding folk musics of Central and Eastern Europe and from cosmopolitan European musical forms.{{cite journal |last=Feldman |first=Zev |title=Musical Fusion and Allusion in the Core and the Transitional Klezmer Repertoires |journal=Shofar: An Interdisciplinary Journal of Jewish Studies |date=2022 |volume=40 |issue=2 |pages=143–166 |doi=10.1353/sho.2022.0026 |s2cid=253206627 |url=https://doi.org/10.1353/sho.2022.0026|issn=1534-5165}} Therefore it evolved into an overall style which has recognizable elements from all of those other genres.

Few klezmer musicians before the late nineteenth century had formal musical training, but they inherited a rich tradition with its own advanced musical techniques. Each musician had their understanding of how the style should be "correctly" performed.{{cite book |last=Rubin |first=Joel |editor-last=Weiner |editor-first=Howard T. |title=Early Twentieth-Century Brass Idioms |date=2009 |publisher=The Scarecrow Press |location=Lanham, MD |isbn=978-0810862456 |pages=77–102 |chapter='Like a String of Pearls': Reflections on the Role of Brass Instrumentalists in Jewish Instrumental Klezmer Music and the Trope of 'Jewish Jazz'}} The usage of these ornaments was not random; the matters of "taste", self-expression, variation and restraint were and remain important elements of how to interpret the music.

Klezmer musicians apply the overall style to available specific techniques on each melodic instrument. They incorporate and elaborate the vocal melodies of Jewish religious practice, including khazones, davenen, and paraliturgical song, extending the range of human voice into the musical expression possible on instruments.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |page=39}} Among those stylistic elements that are considered typically "Jewish" in klezmer music are those which are shared with cantorial or Hasidic vocal ornaments, including imitations of sighing or laughing.{{cite book |last=Slobin |first=Mark |title=Fiddler on the move : exploring the klezmer world |date=2000 |publisher=Oxford University Press |location=Oxford |isbn=9780195161809 |pages=98–122}} Various Yiddish terms were used for these vocal-like ornaments such as {{lang|yi|קרעכץ}} (Krekhts, "groan" or "moan"), {{lang|yi|קנײטש}} ({{transliteration|yi|kneytsh}}, "wrinkle" or "fold"), and {{lang|yi|קװעטש}} ({{transliteration|yi|kvetsh}}, "pressure" or "stress"). Other ornaments such as trills, grace notes, appoggiaturas, glitshn (glissandos), tshoks (a kind of bent notes of cackle-like sound), flageolets (string harmonics),Yale Strom, "The absolutely complete klezmer songbook", 2006, {{ISBN|0-8074-0947-2}}, [https://books.google.com/books?id=nIo2hCQEJGoC&dq=dreydlekh&pg=PR27 Introduction]Strom 2012, [https://books.google.com/books?id=MeUxtaGGtMkC&dq=kneytshn&pg=PA102, pp. 101, 102] pedal notes, mordents, slides and typical klezmer cadences are also important to the style. In particular, the cadences which draw on religious Jewish music identify a piece more strongly as a klezmer tune, even if its broader structure was borrowed from a non-Jewish source. Sometimes the term dreydlekh is used only for trills, while other use it for all klezmer ornaments.Chris Haigh, The Fiddle Handbook, 2009, [https://books.google.com/books?id=aba8o2tYD1IC&dq=%22dreydlekh%22&pg=PA113 Example 4.9] Unlike in Classical music, vibrato is used sparingly, and is treated as another type of ornament.

In an article about Jewish music in Romania, Bob Cohen of Di Naye Kapelye describes krekhts as "a sort of weeping or hiccoughing combination of backwards slide and flick of the little finger high above the base note, while the bow does, well, something – which aptly imitates Jewish liturgical singing style." He also noted that the only other place he has heard this particular ornamentation is in Turkish music on the violin.Cohen. Yale Strom wrote that the use of dreydlekh by American violinists gradually diminished since the 1940s, but with the klezmer revival in 1970, dreydlekh had become prominent again.Yale Strom, Shpil: The Art of Playing Klezmer, 2012, [https://books.google.com/books?id=MeUxtaGGtMkC&pg=PA94 p. 94]

The accompaniment style of the accompanist or orchestra could be fairly impromptu, called {{lang|yi|צוהאַלטן}} ({{transliteration|yi|tsuhaltn}}, holding onto).

The repertoire of klezmer musicians was very diverse and tied to specific social functions and dances, especially of the traditional wedding. These melodies might have a non-Jewish origin, or have been composed by a klezmer, but only rarely are they attributed to a specific composer. Generally klezmer music can be divided into two broad categories: music for specific dances, and music for listening (at the table, in processions, ceremonial, etc.).

• Freylekhs. The simplest and most widespread type of klezmer dance tunes are those played in {{music|time|2|4}} and intended for group circle dances. Depending on the location this basic dance may also have been called a {{transliteration|yi|Redl}} (circle), {{transliteration|yi|Hopke}}, {{transliteration|yi|Karahod}} (round dance, literally the Belarusian translation of the Russian khorovod), {{transliteration|yi|Dreydl}}, {{transliteration|yi|Rikudl}}, etc.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=275–298}}
• Bulgar, or {{Transliteration|yi|Bolgar}}, became the most popular klezmer dance form in the United States. Its origin is thought to be in Moldavia and with a deep connection to the Sârbă genre there.
• Sher is a contra dance in {{music|time|2|4}}. Beregovsky, writing in the 1930s, noted that despite the dance being very commonly played across a wide area, he suspected that it had its roots in an older German dance. This dance continued to be known in the United States even after other complex European klezmer dances had been forgotten.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=261–273}} In some regions the music of a Sher could be interchangeable with a Freylekhs.
• {{Transliteration|yi|Khosidl}}, or {{Transliteration|yi|Khosid}}, named after Hasidic Jews, is a more dignified embellished dance in {{music|time|2|4}} or {{music|time|4|4}}. The dance steps can be performed in a circle or in a line.
• Hora or {{Transliteration|yi|Zhok}} (from the Romanian Joc) is a circle dance in {{music|time|3|8}}. In the United States, it came to be one of the main dance types after the Bulgar.
• {{transliteration|yi|Broygez-tants}}
• Kolomeike is a fast and catchy dance in {{music|time|2|4}} time, which originated in Ukraine, and is prominent in the folk music of that country.
• Skotshne is generally thought to be a more elaborate {{transliteration|yi|Freylekhs}} which could be played either for dancing or listening.
• Nigun, a very broad term which can refer to melodies for listening, singing or dancing. Usually a mid-paced song in {{music|time|2|4}}.
• Waltzes were very popular, whether classical, Russian, or Polish. A padespan was a sort of Russian/Spanish waltz known to klezmers.
• Mazurka and polka, Polish and Czech dances, respectively, were often played for both Jews and Gentiles.
• Sirba – a Romanian dance in {{music|time|2|2}} or {{music|time|2|4}} (Romanian sârbă). It features hopping steps and short bursts of running, accompanied by triplets in the melody.

• The {{transliteration|yi|Doyne}} is a freeform instrumental form borrowed from the Romanian shepherd's doina. Although there are many regional types of doina in Romania and Moldova, the Jewish form is typically simpler, with a minor key theme which is then repeated in a major key, followed by a {{transliteration|yi|Freylekhs}}. A {{transliteration|yi|Volekhl}} is a related genre.
• {{transliteration|yi|Tish-nign}} (table tune)
• {{transliteration|yi|Moralish}}, a type of Nigun, called Devekut in Hebrew, which inspires spiritual arousal or a pious mood.
• A {{transliteration|yi|Vals}} (Waltz), pieces in {{music|time|3|4}} especially in the Hasidic context, may be slower than non-Jewish waltzes and intended for listening while the wedding parties are seated at their tables.
• Forms centering on bridal rituals, including {{transliteration|yi|Kale-bazetsn}} (seating of the bride)
• A {{transliteration|yi|Marsh}} (March) can be non-Jewish march melodies adapted into joyful singing or playing contexts.
• Processional melodies, including {{transliteration|yi|Gas-nigunim}} (street tunes), {{transliteration|yi|Tsum tish}} (to the table). According to Beregovski the {{transliteration|yi|Gas-nign}} was always in {{music|time|3|4}} time.
• The {{transliteration|yi|Taksim}}, whose name is borrowed from the Ottoman/Arab Taqsim is a freeform fantasy on a particular motif, ornamented with trills, roulades and so on; it usually ends with a {{transliteration|yi|Freylekhs}}. By the twentieth century it had mostly become obsolete and was replaced by the doina.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |page=147}}
• Fantazi or fantasy is a freeform song, traditionally played at Jewish weddings to the guests as they dined. It resembles the fantasia of "light" classical music.
• A {{transliteration|yi|Terkisher}} is a type of virtuosic solo piece in {{music|time|4|4}} performed by leading klezmorim such as Dave Tarras and Naftule Brandwein. There is no dance for this type of melody, rather it references an Ottoman or "oriental" style, and melodies may incorporate references to Greek Hasapiko into an Ashkenazic musical aesthetic.
• Parting melodies played at the beginning or end of a wedding day, such as the {{transliteration|yi|Zay gezunt}} (be healthy), {{transliteration|yi|Gas-nign}}, {{transliteration|yi|Dobriden}} (good day), {{transliteration|yi|Dobranotsh}} or {{transliteration|yi|A gute nakht}} (good night) etc.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=220–227}} These types of pieces were sometimes in {{music|time|3|4}} which may have given an air of dignity and seriousness.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=232–233}}

Klezmer music is an instrumental tradition, without much of a history of songs or singing. In Eastern Europe, Klezmers did traditionally accompany the vocal stylings of the Badchen (wedding entertainer), although their performances were typically improvised couplets and the calling of ceremonies rather than songs.{{cite book |last=Pietruszka |first=Symcha |title=Yudishe entsiḳlopedye far Yudishe geshikhṭe, ḳulṭur, religye, filozofye, liṭeraṭur, biografye, bibliografye un andere Yudishe inyonim |date=1932 |publisher=Yehudiyah |location=Warsaw |pages=163–166 |url=https://www.yiddishbookcenter.org/collections/yiddish-books/spb-nybc201734 |language=yi}}{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=146–156}} (The importance of the Badchen gradually decreased by the twentieth century, although they still continued in some traditions.{{cite book |last=Rubin |first=Ruth |title=Voices of a people : the story of Yiddish folksong |date=1973 |publisher=McGraw-Hill |location=New York |isbn=0070541949 |page=251 |edition=2nd}})

As for the klezmer orchestra, its size and composition varied by time and place. The klezmer bands of the eighteenth and early nineteenth century were small, with roughly three to five musicians playing woodwind or string instruments. Another common configuration in that era was similar to Hungarian bands today, typically a lead violinist, second violin, cello, and cimbalom.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=100–111}}{{cite book |last=Gifford |first=Paul M. |title=The hammered dulcimer: a history |date=2001 |publisher=Scarecrow Press |location=Lanham, Md. |isbn=9781461672906 |pages=106–107}} In the mid-nineteenth century, the Clarinet started to appear in those small Klezmer ensembles as well.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=111–113}} By the last decades of the century, in Ukraine, the orchestras had grown larger, averaging seven to twelve members, and incorporating brass instruments and up to twenty for a prestigious occasion.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=93–96}}{{cite book |last=Левик |first=Сергей Юрьевич |title=Записки оперного певца |date=1962 |publisher=Искусство |pages=18–19 |language=ru}} (However, for poor weddings a large klezmer ensemble might only send three or four of its junior members.) In these larger orchestras, on top of the core instrumentation of strings and woodwinds, ensembles often featured cornets, C clarinets, trombones, a contrabass, a large Turkish drum, and several extra violins. The inclusion of Jews in tsarist army bands during the 19th century may also have led to the introduction of typical military band instruments into klezmer. With such large orchestras, the music was arranged so that the bandleader soloist could still be heard at key moments.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |page=115}} In Galicia, and Belarus, the smaller string ensemble with cimbalom remained the norm into the twentieth century.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |pages=100–116}} American klezmer as it developed in dancehalls and wedding banquets of the early twentieth century had a more complete orchestration not unlike those used in popular orchestras of the time. They use a clarinet, saxophone, or trumpet for the melody, and make great use of the trombone for slides and other flourishes.

File:Jewish musicians of Rohatyn (west Ukraine).jpg

The melody in klezmer music is generally assigned to the lead violin, although occasionally the flute and eventually clarinet. The other instrumentalists provide harmony, rhythm, and some counterpoint (the latter usually coming from the second violin or viola). The clarinet now often plays the melody. Brass instruments—such as the French valved cornet and keyed German trumpet—eventually inherited a counter-voice role.{{cite web|url=http://borzykowski.users.ch/EnglMCKlezmer.htm|title=KLEZMER MUSIC|publisher=users.ch|access-date=19 January 2016}} Modern klezmer instrumentation is more commonly influenced by the instruments of the 19th-century military bands than the earlier orchestras.

Percussion in early 20th-century klezmer recordings was generally minimal—no more than a wood block or snare drum. In Eastern Europe, percussion was often provided by a drummer who played a frame drum, or poyk, sometimes called baraban. A poyk is similar to a bass drum and often has a cymbal or piece of metal mounted on top, which is struck by a beater or a small cymbal strapped to the hand.

Klezmer music is a genre that developed partly in the Western musical tradition but also in the Ottoman Empire, and is primarily an oral tradition which does not have a well-established literature to explain its modes and modal progression.{{cite web |last=Horowitz |first=Joshua |title=The Klezmer Ahava Rabboh Shteyger: Mode, Sub-mode, and Modal Progression |url=http://www.budowitz.com/Budowitz/Essays_files/Mode%20Article%20PDF%20File%20%28Merged%29.pdf |website=Budowitz.com |access-date=26 June 2021}} But, as with other types of Ashkenazic Jewish music, it has a complex system of modes which were used in its compositions.{{cite journal |last1=Mazor |first1=Yaacov |last2=Seroussi |first2=Edwin |title=Towards a Hasidic Lexicon of Music |journal=Orbis Musicae. |year=1990 |volume=10 |pages=118–43}}{{cite web |last=Tarsi |first=Boaz |title=Full Text: Cross-Repertoire Motifs in Liturgical Music of the Ashkenazi Tradition: An Initial Lay of the Land by Boaz Tarsi |url=https://www.jewish-music.huji.ac.il/content/full-text-cross-repertoire-motifs-liturgical-music-ashkenazi-tradition-initial-lay-land-boaz |website=Jewish Music Research Centre |access-date=27 June 2021}} Many of its melodies do not fit well in the major and minor terminology used in Western music, nor is the music systematically microtonal in the way that Middle Eastern music is. Nusach terminology, as developed for Cantorial music in the nineteenth century, is often used instead, and indeed many klezmer compositions draw heavily on religious music. But it also incorporates elements of Baroque and Eastern European folk musics, making description based only on religious terminology incomplete.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=375–385}} Still, since the Klezmer revival of the 1970s, the terms for Jewish prayer modes are the most common to describe those used in klezmer.{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |page=361}} The terms used in Yiddish for these modes include nusach ({{lang|yi|נוסח}}); {{transliteration|yi|shteyger}} ({{lang|yi|שטײגער}}), "manner, mode of life", which describes the typical melodic character, important notes and scale; and {{transliteration|yi|gust}} ({{lang|yi|גוסט}}), a word meaning "taste" which was commonly used by Moisei Beregovsky.{{cite journal |last=Avenary |first=Hanoch |title=The Musical Vocabulary of Ashkenazic Hazanim |journal=Studies in Biblical and Jewish Folklore |year=1960 |pages=187–198 |location=Bloomington, Indiana}}{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |pages=122–74}}

Beregovsky, who was writing in the Stalinist era and was constrained by having to downplay klezmer's religious aspects, did not use the terminology of synagogue modes, except in some early work in 1929. Instead, he relied on German-inspired musical terminology of major, minor, and "other" modes, which he described in technical terms.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |page=40}} In his 1940s works he noted that the majority of the klezmer repertoire seemed to be in a minor key, whether natural minor or others, that around a quarter of the material was in Freygish, and that around a fifth of the repertoire was in a major key.

Another set of terminology sometimes used to describe klezmer music is that of the Makams used in Ottoman and other Middle Eastern music.{{cite thesis |last=Alford-Fowler |first=Julia |date=May 2013 |title=Chasing Yiddishkayt: A concerto in the context of Klezmer music |type=Doctoral thesis |institution=Temple University |url=https://scholarshare.temple.edu/bitstream/handle/20.500.12613/586/Alfordfowler_temple_0225E_11450.pdf |access-date=16 June 2021}} This approach dates back to Idelsohn in the early twentieth century, who was very familiar with Middle Eastern music, and has been developed in the past decade by Joshua Horowitz.{{cite journal |last=Frigyesi |first=Judit Laki |title=Modulation as an Integral Part of the Modal System in Jewish Music |journal=Musica Judaica |date=1982–1983 |volume=5 |issue=1 |pages=52–71 |jstor=23687593 |url=https://www.jstor.org/stable/23687593}}

Finally, some Klezmer music, and especially that composed in the United States from the mid-twentieth century onwards, may not be composed with these traditional modes, but rather built around chords.

Because there is no agreed-upon, complete system for describing modes in Klezmer music, this list is imperfect and may conflate concepts which some scholars view as separate.{{cite journal |last=Tarsi |first=Boaz |title=At the Intersection of Music Theory and Ideology: A. Z. Idelsohn and the Ashkenazi Prayer Mode Magen Avot |journal=Journal of Musicological Research |date=3 July 2017 |volume=36 |issue=3 |pages=208–233 |doi=10.1080/01411896.2017.1340033 |s2cid=148956696 |url=https://doi.org/10.1080/01411896.2017.1340033 |issn=0141-1896}} Another problem in listing these terms as simple eight-note (octatonic) scales is that it makes it harder to see how Klezmer melodic structures can work as five-note pentachords, how parts of different modes typically interact, and what the cultural significance of a given mode might be in a traditional Klezmer context.

File:C Jewish scale.PNG

• {{transliteration|yi|Freygish}}, {{transliteration|yi|Ahavo Rabboh}}, or Phrygian dominant scale resembles the Phrygian mode, having a flat second but also a permanent raised third. It is among the most common modes in Klezmer and is closely identified with Jewish identity; Beregovsky estimated that roughly a quarter of the Klezmer music he had collected was in Freygish. Among the most well-known pieces composed in this mode are "Hava Nagila" and "{{transliteration|yi|Ma yofus}}". It is comparable to the Maqam Hijaz found in Arabic music.

File:Ukrainian Dorian mode on C.png

• {{transliteration|yi|Mi Sheberakh}}, Av HaRachamim, "altered Dorian" or Ukrainian Dorian scale is a minor mode which has a raised fourth. It is sometimes compared to {{lang|tr|Nikriz Makamı}}. It is closely related to {{transliteration|yi|Freygish}} since they share the same pitch intervals. This mode is often encountered in {{transliteration|yi|Doynes}} and other Klezmer forms with connections to Romanian or Ukrainian music.

File:Mixolydian mode C.png

• {{transliteration|yi|Adonoy Molokh}} or {{transliteration|yi|Adoyshem Molokh}} a synagogue mode with a flatted seventh. It is sometimes called the "Jewish major". It has some similarities to the Mixolydian mode.{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |page=364}}

File:Aeolian mode C.png

• {{transliteration|yi|Mogen Ovos}} is a synagogue mode which resembles the Western natural minor. In klezmer music, it is often found in greeting and parting pieces, as well as dance tunes. It has some similarities to the Bayati maqam used in Arabic and Turkish music.
• {{transliteration|yi|Yishtabakh}} resembles {{transliteration|yi|Mogen Ovos}} and {{transliteration|yi|Freygish}}. It is a variant of the Mogen Ovos scale that frequently flattens the second and fifth degrees.{{cite web |last=Horowitz |first=Josh |title=The Main Klezmer Modes |url=https://www.klezmershack.com/articles/horowitz/horowitz.klezmodes.html |website=Ari Davidow's Klezmer Shack |access-date=24 June 2022}}

The Bible has several descriptions of orchestras and Levites making music, but after the destruction of the Second Temple in 70 CE, many rabbis discouraged musical instruments.{{cite book |last=Netsky |first=Hankus |title=Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. |date=2015 |publisher=Temple University Press |location=Philadelphia |isbn=9781439909034 |pages=19–21}} Therefore, while there may have been Jewish musicians in different times and places since then, the "Klezmer" arose much more recently.{{cite book |last=Stutchewsky |first=Joachim |title=הכליזמרים : תולדותיהם, אורח-חיים ויצירותיהם |date=1959 |publisher=Bialik Institute |location=Jerusalem |pages=29–45 |language=he}} The earliest written record of the use of the word was identified by {{ill|Isaac Rivkind|he|יצחק ריבקינד}} as being in a Jewish council meeting from Kraków in 1595.{{cite book |last=Rivkind |first=Isaac |title=Pereq be-Toldot Ha-Amanut Ha-'Amamit |date=1960 |publisher=Futuro Press |location=New York |page=16 |language=he}}{{cite book |last=Feldman |first=Zev |title=Klezmer : music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=62–63}} They may have existed even earlier in Prague, as references to them have been found as early as 1511 and 1533.{{cite journal |last=Zaagsma |first=Gerben |title=The Klezmorim of Prague: About a Jewish Musicians' Guild. |journal=East European Meetings in Ethnomusicology |year=2000 |volume=7 |pages=41–47}} It was in the 1600s that the situation of Jewish musicians in Poland improved, as they gained the right to form Guilds (Khevre), and therefore to set their own fees, hire Christians, and so on.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |pages=71–73}} Therefore over time this new form of professional musician developed new forms of music and elaborated this tradition across a wide area of Eastern European Jewish life. The rise of Hasidic Judaism in the late eighteenth century and onwards also contributed to the development of klezmer, due to their emphasis on dancing and wordless melodies as a component of Jewish practice.

File:Portrait of Pedotser (A.M. Kholodenko).jpg

The nineteenth century also saw the rise of a number of klezmer violin virtuosos who combined the techniques of classical violinists such as Ivan Khandoshkin and of Bessarabian folk violinists, and who composed dance and display pieces that became widespread even after the composers were gone.{{cite book |last=Horowitz |first=Joshua |editor-last=Simonett |editor-first=Helena |title=The accordion in the Americas : klezmer, polka, tango, zydeco, and more! |date=2012 |publisher=University of Illinois Press |location=Urbana |isbn=9780252094323 |page=195|chapter=9. The Klezmer Accordion}} Among these figures were Aron-Moyshe Kholodenko "Pedotser", Yosef Drucker "Stempenyu", Alter Goyzman "Alter Chudnover" and Josef Gusikov.{{cite book |last=Stutchewsky |first=Joachim |title=הכליזמרים : תולדותיהם, אורח-חיים ויצירותיהם |date=1959 |publisher=Bialik Institute |location=Jerusalem |pages=110–114 |language=he}}{{cite book |last=Rubin |first=Joel |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Rochester University |location=Rochester, NY |isbn=9781580465984 |page=28}}{{cite book |last=Beregovski |first=Moshe |last2=Rothstein |first2=Robert |last3=Bjorling |first3=Kurt |last4=Alpert |first4=Michael |last5=Slobin |first5=Mark |title=Jewish instrumental folk music : the collections and writings of Moshe Beregovski |date=2020 |location=Evanston, Illinois |isbn=9781732618107 |pages=I7–I9 |edition=Second}}{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |page=149}}

Unlike in the United States, where there was a robust Klezmer recording industry, there was relatively less recorded in Europe in the early twentieth century. The majority of European recordings of Jewish music consisted of Cantorial and Yiddish Theatre music, with only a few dozen known to exist of Klezmer music.{{cite journal |last=Wollock |first=Jeffrey |title=European Recordings of Jewish Instrumental Folk Music, 1911–1914 |journal=ARSC Journal |date=Spring 1997 |volume=28 |issue=1 |pages=36–55}} These include violin pieces by artists such as Oscar Zehngut, Jacob Gegna, H. Steiner, Leon Ahl, and Josef Solinski; flute pieces by S. Kosch, and ensemble recordings by Belf's Romanian Orchestra, the Russian-Jewish Orchestra, Jewish Wedding Orchestra, and Titunshnayder's Orchestra.{{Cite AV media notes |title=Chekhov's Band: Eastern European Klezmer Music from the EMI archives, 1908–1913|last=Rubin |first=Joel |first2=Michael |last2=Aylward |year=2019 |type=CD |publisher=Renair Records |location=London}}

The loosening of restrictions on Jews in the Russian Empire, and their newfound access to academic and conservatory training, created a class of scholars who began to reexamine and evaluate klezmer using modern techniques. Abraham Zevi Idelsohn was one such figure, who sought to find an ancient Middle Eastern origin for Jewish music in the diaspora.{{cite book |last=Netsky |first=Hankus |title=Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. |date=2015 |publisher=Temple University Press |location=Philadelphia |isbn=9781439909034 |pages=10–11}} There was also new interest in collecting and studying Jewish music and folklore, including Yiddish songs, folk tales, and instrumental music. An early expedition was by Joel Engel, who collected folk melodies in his birthplace of Berdyansk in 1900. The first figure to collect large amounts of klezmer music was Susman Kiselgof, who made several expeditions to the Pale of Settlement from 1907 to 1915.{{cite book |last=Sholokhova |first=Lyudmila |editor-last=Grözinger |editor-first=Karl-Erich |title=Klesmer, Klassik, jiddisches Lied: jüdische Musikkultur in Osteuropa |date=2004 |publisher=Otto Harrassowitz Verlag |isbn=9783447050319 |pages=63–72|chapter=Zinoviy Kiselhof as a Founder of Jewish Musical Folklore Studies in the Russian Empire at the Beginning of the 20th Century.}} He was soon followed by other scholars such as Moisei Beregovsky and Sofia Magid, Soviet scholars of Yiddish and klezmer music.{{cite book |last=Grözinger |first=Elvira |title="Unser Rebbe, unser Stalin – ": jiddische Lieder aus den St. Petersburger Sammlungen von Moishe Beregowski (1892–1961) und Sofia Magid (1892–1954); Einleitung, Texte, Noten mit DVD: Verzeichnis der gesamten weiteren 416 Titel, Tondokumente der bearbeiteten und nichtbearbeiteten Lieder |date=2008 |publisher=Harrassowitz |location=Wiesbaden |isbn=9783447056892 |pages=40–3}}{{cite journal |last=Beregovski |first=M. |title=Yidishe klezmer, zeyer shafn un shteyger |journal=Literarisher Alamanakh "Sovetish" |year=1941 |volume=12 |pages=412–450 |url=https://archive.org/details/Beregovsky1941/ |publisher=Melukhe-farlag "Der Emes" |location=Moscow |language=yi}} Most of the materials collected in those expeditions are now held by the Vernadsky National Library of Ukraine.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |page=24}}

File:KLEZPO.png Beregovsky, writing in the late 1930s, lamented how little scholars knew about the range of playing technique and social context of Klezmers from past eras, except for the late nineteenth century which could be investigated through elderly musicians who still remembered it.

Jewish music in the Soviet Union, and the continued use of klezmer music, went through several phases of official support or censorship. The officially supported Soviet Jewish musical culture of 1920s involved works based on or satirizing traditional melodies and themes, whereas those of the 1930s were often "Russian" cultural works translated into a Yiddish context.{{cite book |last=Shternshis |first=Anna |title=Soviet and kosher : Jewish popular culture in the Soviet Union, 1923–1939 |date=2006 |publisher=Indiana University Press |location=Bloomington |isbn=0253347262 |pages=xv-xx}} After 1948, Soviet Jewish culture entered a phase of repression, meaning that Jewish music concerts, whether tied to Hebrew, Yiddish, or instrumental klezmer, were no longer allowed to be performed.{{cite journal |last=Wollock |first=Jeffrey |title=Soviet Recordings of Jewish Instrumental Folk Music, 1937–1939 |journal=ARSC Journal |date=Spring 2003 |volume=34 |issue=1 |pages=14–32 |location=Annapolis, MD}} Moisei Beregovsky's academic work was shut down in 1949 and he was arrested and deported to Siberia in 1951.{{cite web |last=Sholokhova |first=Lyudmila |title=Beregovskii, Moisei Iakovlevich |url=http://www.yivoencyclopedia.org/article.aspx/Beregovskii_Moisei_Iakovlevich |website=YIVO Encyclopedia |publisher=YIVO Institute |access-date=8 July 2021}}{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |page=129}} The repression was eased in the mid-1950s as some Jewish and Yiddish performances were allowed to return to the stage once again.{{cite book |last=Estraikh |first=Gennady |title=Yiddish in the Cold War |date=2008 |publisher=Routledge |location=London |isbn=9781351194471 |page=57}} However, the main venue for klezmer has always been traditional community events and weddings, not the concert stage or academic institute; those traditional venues were repressed along with Jewish culture in general, according to anti-religious Soviet policy.{{cite book |last=Shternshis |first=Anna |title=Soviet and kosher: Jewish popular culture in the Soviet Union, 1923–1939 |date=2006 |publisher=Indiana University Press |location=Bloomington |isbn=0253347262 |pages=3–4}}

The first klezmers to arrive in the United States followed the first large waves of Eastern European Jewish immigration which began after 1880, establishing themselves mainly in large cities like New York, Philadelphia and Boston. Klezmers—often younger members of klezmer families, or less established musicians—started to arrive from the Russian Empire, the Kingdom of Romania and Austria-Hungary.{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |page=39}} Some of them found work in restaurants, dance halls, union rallies, wine cellars, and other modern venues in places like New York's Lower East Side.{{cite book |last=Heskes |first=Irene |title=Yiddish American popular songs, 1895 to 1950 : a catalog based on the Lawrence Marwick roster of copyright entries |date=1995 |publisher=Library of Congress |location=Washington, D.C. |isbn=0844407453 |pages=xix=xxi}}{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781580465984 |page=36}} But the major source of income for klezmer musicians seems to have remained weddings and Simchas, as in Europe. Those early generations of klezmers are much more poorly documented than those working in the 1910s and 1920s; many never recorded or published music, although some are remembered through family or community history, such as the Lemish klezmer family of Iași, Romania, who arrived in Philadelphia in the 1880s and established a klezmer dynasty there.{{cite book |last=Netsky |first=Hankus |title=Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. |date=2015 |publisher=Temple University Press |location=Philadelphia |isbn=978-1-4399-0903-4 |pages=98–9}}{{cite book |last=Loeffler |first=James |editor1-last=Slobin |editor1-first=Mark |title=American Klezmer : its roots and offshoots |date=2002 |publisher=University of California Press |isbn=978-0-520-22717-0 |pages=35–51 |chapter=3: Di Rusishe Progresiv Muzikal Yunyon No. 1 fun Amerike The First Klezmer Union in America}}

File:Max Leibowitz orchestra from 1921 score cover (Cropped).jpg

The vitality of the Jewish music industry in major American cities attracted ever more klezmers from Europe in the 1910s. This coincided with the development of the recording industry, which recorded a number of these klezmer orchestras. By the time of the First World War, the industry turned its attention to ethnic dance music and a number of bandleaders were hired by record companies such as Edison Records, Emerson Records, Okeh Records, and the Victor Recording Company to record 78 rpm discs.{{cite web |title=Columbia Repertoire History: Foreign Language Recordings – Discography of American Historical Recordings |url=https://adp.library.ucsb.edu/index.php/resources/detail/122 |website=Discography of American Historical Recordings |access-date=12 February 2021}} The first of these was Abe Elenkrig, a barber and cornet player from a klezmer family in Ukraine whose 1913 recording {{transliteration|yi|Fon der Choope}} (From the Wedding) has been recognized by the Library of Congress.{{cite web |title=The Sounds of Fighting Men, Howlin' Wolf and Comedy Icon Among 25 Named to the National Recording Registry |url=https://www.loc.gov/item/prn-10-116/national-recording-registry-adds-25/2010-06-23/ |website=Library of Congress|access-date=13 February 2021}}{{cite book |last=Sapoznik |first=Henry |title=Klezmer! : Jewish music from Old World to our world |date=1999 |publisher=Schirmer Books |isbn=9780028645742 |page=68}}{{Cite web|url=https://www.loc.gov/static/programs/national-recording-preservation-board/documents/FonDerChoope_Netsky.pdf|title=Fon der Choope (From the Wedding) - Abe Elenkrig's Yidishe Orchestra (April 4, 1913)|last=Netsky|first=Hankus|website=Library of Congress|archive-url=|archive-date=|access-date=19 June 2021}}

Among the European-born klezmers recording during that decade were some from the Ukrainian territory of the Russian Empire (Abe Elenkrig, Dave Tarras, Shloimke Beckerman, Joseph Frankel, and Israel J. Hochman), some from Austro-Hungarian Galicia (Naftule Brandwein, Harry Kandel and Berish Katz), and some from Romania (Abe Schwartz, Max Leibowitz, Max Yankowitz, Joseph Moskowitz).{{cite book |last=Heskes |first=Irene |title=Yiddish American popular songs, 1895 to 1950 : a catalog based on the Lawrence Marwick roster of copyright entries |date=1995 |publisher=Library of Congress |location=Washington, D.C. |isbn=0844407453 |page=xxxiv}}{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244514 |page=279}}{{cite web |title=Lt. Joseph Frankel's Orchestra - Discography of American Historical Recordings |url=https://adp.library.ucsb.edu/index.php/mastertalent/detail/111994/Lt._Joseph_Frankels_Orchestra |website=Discography of American Historical Recordings}}{{cite book |last=Sapoznik |first=Henry |title=Klezmer! : Jewish music from Old World to our world |date=1999 |publisher=Schirmer Books |location=New York |isbn=9780028645742 |pages=87–94}}

The mid-1920s also saw a number of popular novelty "Klezmer" groups which performed on the radio or vaudeville stages. These included Joseph Cherniavsky's Yiddish-American Jazz Band, whose members would dress as parodies of Cossacks or Hasidim.{{cite book |last=Sapoznik |first=Henry |title=Klezmer! : Jewish music from Old World to our world |date=2006 |publisher=Schirmer Trade Books |location=New York |isbn=9780825673245 |pages=107–11 |edition=2nd}} Another such group was the Boibriker Kapelle, which performed on the radio and in concerts trying to recreate a nostalgic, old-fashioned Galician Klezmer sound.{{cite journal |last=Wollock |first=Jeffrey |title=Historic Records as Historical Records: Hersh Gross and His Boiberiker Kapelye (1927–1932) |journal=ARSC Journal |year=2007 |volume=38 |issue=1 |pages=44–106 |url=https://klezmerinstitute.org/wp-content/uploads/2020/09/Wollock-Boiberiker-Kapelye.pdf}} With the passing of the Immigration Act of 1924, which greatly restricted Jewish immigration from Europe, and then the onset of the Great Depression by 1930, the market for Yiddish and klezmer recordings in the United States saw a steep decline, which essentially ended the recording career of many of the popular bandleaders of the 1910s and 1920s, and made the large klezmer orchestra less viable.{{cite book |last=Rubin |first=Joel E. |title=New York klezmer in the early twentieth century: the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Boydell & Brewer |location=Rochester, NY |isbn=9781787448315 |pages=260–263}}

Along with the rise of klezmer "big bands" in the 1910s and 1920s, a handful of Jewish clarinet players who had led those bands became celebrities in their own right, with a legacy that lasted into subsequent decades. The most popular among these were Naftule Brandwein, Dave Tarras, and Shloimke Beckerman.{{cite book |last=Sapoznik |first=Henry |title=Klezmer! : Jewish music from Old World to our world |date=2006 |publisher=Schirmer Trade Books |location=New York |isbn=9780825673245 |pages=99–109 |edition=2nd}}{{cite book |title=Jews and American popular culture |date=2007 |publisher=Praeger Publishers |location=Westport, Conn. |isbn=9780275987954 |page=86}}{{cite book |last=Rubin |first=Joel |title=New York klezmer in the early twentieth century : the music of Naftule Brandwein and Dave Tarras |date=2020 |publisher=Rochester University |location=Rochester, NY |isbn=9781580465984 |pages=2–4}}

In the mid-to-late 1970s there was a klezmer revival in the United States and Europe, led by Giora Feidman, The Klezmorim, Zev Feldman, Andy Statman, and the Klezmer Conservatory Band. They drew their repertoire from recordings and surviving musicians of U.S. klezmer.{{cite journal |last=Kirshenblatt-Gimblett |first=Barbara |title=Sounds of sensibility|journal=Judaism: A Quarterly Journal of Jewish Life and Thought |year=1998 |volume=47 |issue=1 |pages=49–79}} In particular, clarinetists such as Dave Tarras and Max Epstein became mentors to this new generation of klezmer musicians.{{cite book |last=Netsky |first=Hankus |title=Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. |date=2015 |publisher=Temple University Press |location=Philadelphia |isbn=9781439909034 |pages=4–5}} In 1985, Henry Sapoznik and Adrienne Cooper founded KlezKamp to teach klezmer and other Yiddish music.{{cite book |last=Slobin |first=Mark |title=Fiddler on the move: exploring the klezmer world |date=2000 |publisher=Oxford University Press |location=Oxford |isbn=9780195161809 |page=4}}

File:Elane Hoffman Watts 2007.jpg

The 1980s saw a second wave of revival, as interest grew in more traditionally inspired performances with string instruments, largely with non-Jews of the United States and Germany. Musicians began to track down older European klezmer, by listening to recordings, finding transcriptions, and making field recordings of the few klezmorim left in Eastern Europe. Key performers in this style are Joel Rubin, Budowitz, Khevrisa, Di Naye Kapelye, Yale Strom, The Chicago Klezmer Ensemble, The Maxwell Street Klezmer Band, the violinists Alicia Svigals, Steven Greenman,{{cite web|url=http://www.stevengreenman.com|title=Steven Greenman|work=stevengreenman.com|access-date=19 January 2016}} Cookie Segelstein and Elie Rosenblatt, flutist Adrianne Greenbaum, and tsimbl player Pete Rushefsky. Bands like Brave Old World, Hot Pstromi and The Klezmatics also emerged during this period.

In the 1990s, musicians from the San Francisco Bay Area helped further interest in klezmer music by taking it into new territory. Groups such as the New Klezmer Trio inspired a new wave of bands merging klezmer with other forms of music, such as John Zorn's Masada and Bar Kokhba, Naftule's Dream, Don Byron's Mickey Katz project and violinist Daniel Hoffman's klezmer/jazz/Middle-Eastern fusion band Davka. The New Orleans Klezmer All-Stars{{cite web |url=http://www.klezmers.com/ |title=Home |website=klezmers.com}} also formed in 1991 with a mixture of New Orleans funk, jazz, and klezmer styles.

Starting in 2008, "The Other Europeans" project, funded by several EU cultural institutions,{{cite web|url=http://www.other-europeans-band.eu/archiv_the-other-europeans/ |archive-url=https://web.archive.org/web/20110430003657/http://www.other-europeans-band.eu/archiv_the-other-europeans/ |url-status=dead |archive-date=30 April 2011 |title=The Other Europeans |publisher=other-europeans-band.eu |access-date=19 January 2016 }} spent a year doing intensive field research in the region of Moldavia under the leadership of Alan Bern and scholar Zev Feldman. They wanted to explore klezmer and lăutari roots, and fuse the music of the two "other European" groups. The resulting band now performs internationally.

A separate klezmer tradition had developed in Israel in the 20th century. Clarinetists Moshe Berlin and Avrum Leib Burstein are known exponents of the klezmer style in Israel. To preserve and promote klezmer music in Israel, Burstein founded the Jerusalem Klezmer Association, which has become a center for learning and performance of klezmer music in the country.{{cite web|url=http://www.jerusalemklezmer.org|title=The Jerusalem Klezmer Association}}

Since the late 1980s, an annual klezmer festival is held every summer in Safed, in the north of Israel.{{Cite web |last=Out and AboutUpcoming Events·1 min read |date=2023-03-20 |title=The annual Safed Klezmer Festival returns to wow the north of Israel! |url=https://igoogledisrael.com/the-annual-safed-klezmer-festival-returns-to-wow-the-north-of-israel/ |access-date=2023-04-24 |website=The ESSENTIAL guide to Israel {{!}} iGoogledIsrael.com}}{{Cite web |title=Klezmer Festival in Safed |url=https://www.safed-home.com/klezmerfestivalofsafed.html |access-date=2023-04-24 |website=Safed Israel}}

While traditional performances may have been on the decline, many Jewish composers who had mainstream success, such as Leonard Bernstein and Aaron Copland, continued to be influenced by the klezmeric idioms heard during their youth (as Gustav Mahler had been). George Gershwin was familiar with klezmer music, and the opening clarinet glissando of "Rhapsody in Blue" suggests this influence, although the composer did not compose klezmer directly.{{cite book | last=Rogovoy | first=S. | title=The Essential Klezmer | publisher=Algonquin Books | year=2000 | isbn=978-1-56512-863-7 | url=https://books.google.com/books?id=JT86oo5_99kC&pg=PA71 | access-date=1 May 2017 | page=71}} Some clarinet stylings of swing jazz bandleaders Benny Goodman and Artie Shaw can be interpreted as having been derived from klezmer, as can the "freilach swing" playing of other Jewish artists of the period such as trumpeter Ziggy Elman.

At the same time, non-Jewish composers were also turning to klezmer for a prolific source of fascinating thematic material. Dmitri Shostakovich in particular admired klezmer music for embracing both the ecstasy and the despair of human life, and quoted several melodies in his chamber masterpieces, the Piano Quintet in G minor, op. 57 (1940), the Piano Trio No. 2 in E minor, op. 67 (1944), and the String Quartet No. 8 in C minor, op. 110 (1960).

The compositions of Israeli-born composer Ofer Ben-Amots incorporate aspects of klezmer music, most notably his 2006 composition Klezmer Concerto. The piece is for klezmer clarinet (written for Jewish clarinetist David Krakauer),{{cite web|url=http://www.bernsarts.com/dkorchestra/dkorchestra-ben-amots.html|title=Ofer Ben-Amots: The Klezmer Concerto|author=|year=2006|publisher=Bernstein Artists, Inc.|access-date=6 June 2014|url-status=dead|archive-url=https://web.archive.org/web/20140606222154/http://www.bernsarts.com/dkorchestra/dkorchestra-ben-amots.html|archive-date=6 June 2014}} string orchestra, harp and percussion.{{cite book|last=Ben-Amots|first=Ofer|date=2006|title=Klezmer Concerto|location=Colorado Springs|publisher=The Composer's Own Press |isbn=978-1-939382-07-8}}

File:Issachar Ber Ryback - Wedding Ceremony.jpg

The figure of the klezmer, as a romantic symbol of nineteenth century Jewish life, appeared in the art of a number of twentieth century Jewish artists such as Anatoli Lvovich Kaplan, Issachar Ber Ryback, Marc Chagall, and Chaim Goldberg. Kaplan, making his art in the Soviet Union, was quite taken by the romantic images of the Klezmer in literature, and in particular in Sholem Aleichem's Stempenyu, and depicted them in rich detail.{{cite book |last=Suris |first=B. D. |title=Анатолий Львович Каплан. Anatoliĭ Lʹvovich Kaplan. |date=1972 |publisher=Khudozhnik RSFSR |location=Leningrad |pages=234–236}}

• Yidl Mitn Fidl (1936), directed by Joseph Green
• Fiddler on the Roof (1971), directed by Norman Jewison
• Les Aventures de Rabbi Jacob (1973), directed by Gérard Oury
• Jewish Soul Music: The Art of Giora Feidman (1980), directed by Uri Barbash
• A Jumpin' Night in the Garden of Eden (1988), directed by Michal Goldman
• Fiddlers on the Hoof (1989), directed by Simon Broughton
• The Last Klezmer: Leopold Kozlowski: His Life and Music (1994), directed by Yale Strom
• Beyond Silence (1996), about a klezmer-playing clarinetist, directed by Charlotte Link
• A Tickle in the Heart (1996), directed by Stefan Schwietert{{cite web |url=http://www.rubin-ottens.com/p7.html |title=A Tickle in the Heart |first1=Joel |last1=Rubin |first2=Rita |last2=Ottens |date=15 May 2000 |url-status=dead |archive-url=https://web.archive.org/web/20090404114534/http://www.rubin-ottens.com/p7.html |archive-date=4 April 2009}}
• Itzhak Perlman: In the Fiddler's House (1996), aired 29 June 1996 on Great Performances (PBS/WNET television series)
• L'homme est une femme comme les autres (1998, directed by Jean-Jacques Zilbermann with soundtrack by Giora Feidman)
• Dummy (2002), directed by Greg Pritikin
• Klezmer on Fish Street (2003), directed by Yale Strom
• Le Tango des Rashevski (2003) directed by Sam Garbarski
• Klezmer in Germany (2007), directed by Kryzstof Zanussi and C. Goldie
• A Great Day on Eldridge Street (2008), directed by Yale Strom
• [https://www.nfb.ca/film/socalled_movie/ The "Socalled" Movie] (2010), directed by Garry Beitel

In Jewish literature, the klezmer was often represented as a romantic and somewhat unsavory figure.{{cite book |last=Netsky |first=Hankus |title=Klezmer: Music and Community in Twentieth-Century Jewish Philadelphia. |date=2015 |publisher=Temple University Press |location=Philadelphia |isbn=9781439909034 |page=9}} However, in nineteenth century works by writers such as Mendele Mocher Sforim and Sholem Aleichem they were also portrayed as great artists and virtuosos who delighted the masses. Klezmers also appeared in non-Jewish Eastern European literature, such as in the epic poem Pan Tadeusz, which depicted a character named Jankiel Cymbalist, or in the short stories of Leopold von Sacher-Masoch. In George Eliot's Daniel Deronda (1876), the German Jewish music teacher is named Herr Julius Klesmer.{{cite book |last=Feldman |first=Zev |title=Klezmer: music, history and memory |date=2016 |publisher=Oxford University Press |location=New York, NY |isbn=9780190244521 |page=60}} The novel was later adapted into a Yiddish musical by Avram Goldfaden titled {{transliteration|yi|Ben Ami}} (1908).{{cite book |last=Heskes |first=Irene |title=Yiddish American popular songs, 1895 to 1950 : a catalog based on the Lawrence Marwick roster of copyright entries |date=1995 |publisher=Library of Congress |location=Washington, D.C. |isbn=0844407453 |page=xix}}

• List of klezmer bands
• List of klezmer musicians
• Secular Jewish music

{{Reflist}}

{{Commons}}

• [http://www.yivoencyclopedia.org/article.aspx/Music/Traditional_and_Instrumental_Music YIVO Encyclopedia article on Traditional and Instrumental Music] of Eastern European Jews
• [https://klezkanada.org/ KlezKanada], [https://yiddishsummer.eu/ Yiddish Summer Weimar], [https://www.yiddishnewyork.com/ Yiddish New York], festivals where klezmer music is taught
• [https://klezmerinstitute.org/ Klezmer Institute], an academic group aiming to study and discuss klezmer
• [https://www.loc.gov/collections/yiddish-american-popular-sheet-music/ Yiddish American Popular Sheet Music], a collection of public domain and unpublished scores in the Library of Congress, including the handwritten scores of a number of early American klezmer artists
• [https://search.library.wisc.edu/digital/AMayrentRec Mayrent Collection of Yiddish recordings], an open archive of digitized Yiddish and klezmer recordings
• [http://www.klezmerguide.com KlezmerGuide.com]. Comprehensive cross-reference to klezmer recordings and sheet music sources
• [http://klezmerpodcast.com/ Klezmer Podcast] and [http://danblacksberg.com/category/podcast/ Radiant Others] {{Webarchive|url=https://web.archive.org/web/20220330032843/http://danblacksberg.com/category/podcast/ |date=30 March 2022 }}, two podcasts (currently inactive) which interviewed klezmer performers and scholars
• {{cite book|title=How Sweet the Sound: Music in the Spiritual Lives of Americans|author=Stowe, D.W.|date=2004|publisher=Harvard University Press|isbn=9780674012905|url=https://books.google.com/books?id=tRbwN1GDsDIC&pg=PA182|page=182|accessdate=2015-11-09}}
• {{cite web|url=http://www.dinayekapelye.com/jmfiddle.htm|title=Jewish Music in Romania|first=Bob|last=Cohen|work=Jewish Music in Eastern Europe |publisher=Di Naye Kapelye|accessdate=2015-11-09}}

{{Folk music}}

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