ARRANGEMENTS OF TRADITIONAL KLEZMER TUNES
CLARINET & PIANO
Der Gasn Nign, ca. 5 min
Composer: Traditional/arranged by David Krakauer & Kathleen Tagg
Der Heyser Bulgar, ca. 3.5 min
Composer: Traditional, arr. David Krakauer & Kathleen Tagg
CLARINET & CELLO
WEDDING DANCE (2013), ca. 4 min
Composer: Traditional/arranged by David Krakauer & Kathleen Tagg
Performances: Greenspace NYC (20??): David Krakauer & Jeff Zeigler; Academia Chigiana (2022): David Krakauer, Clive Greensmith
CLARINET, CELLO, PIANO
Der Heyser Bulgar, ca. 3.5 min
Composer: Traditional/arranged by David Krakauer & Kathleen Tagg
Instrumentation: clarinet, violoncello, piano
Performances: Academia Chigiana (2022): David Krakauer, Clive Greensmith, Ciro Longobardi
Der Gasn Nign, ca. 5 min
Composer: Traditional/arranged by David Krakauer & Kathleen Tagg
Instrumentation: clarinet, cello, piano
Performances: Academia Chigiana (2022): David Krakauer, Clive Greensmith, Ciro Longobardi
CLARINET & STRING QUARTET
Der Gasn Nign, ca. 5 min
Composer: Traditional/arranged by David Krakauer
Instrumentation: clarinet and string quartet
Recording
Der Heyser Bulgar, ca. 3.5 min
Composer: Traditional/arranged by David Krakauer
Instrumentation: clarinet and string quartet
WEDDING DANCE, CA. 4 MIN
Composer: Traditional/arranged by David Krakauer
Instrumentation: clarinet and string quartet
CLARINET QUARTET
Der Gasn Nign (2021) ca. 5 min
Composer: Traditional/arranged by David Krakauer
Instrumentation: Clarinet quartet
Der Heyser Bulgar (2021) ca. 4 min
Composer: Traditional/arranged by David Krakauer
Instrumentation: Clarinet quartet
PROGRAM NOTES:
The Wedding Dance, Der Gasn Nign (The Street Song), and Der Heyser Bulgar (The Hot Bulgar) are three standards of the Eastern European Jewish klezmer repertoire. In creating arrangements of these traditional celebration tunes for strings plus myself, I have basically drawn from the old 1920s klezmer recordings as my main source material. However I have also thrown in influences from the work I have done with musician colleagues for the past 15+ years. For example, in The Wedding Dance, I give the string players the option to erase or leave out parts ad libitum during the first pass of the melody, creating a kind of improvisation. In this way each performance turns out to be totally unique. And in Der Gasn Nign I have worked to recreate in the strings the haunting atmosphere of the electric guitar that I was able to find in the arrangements I came up with for my band.