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.