MUZSIKÁS
Traditional Hungarian-Jewish Folkmusic
At our fieldtrips, we encountered pieces which were known as "Jewish
csardas" and had also heard of "Jewish tuning" but paid no special attention
to these phenomena. Later we became involved with Jewish instrumental
music. We found encouragement and guidance in the teachings of Zoltan
Simon. Simon came from a Jewish family in Mako, one of the most
important rural centers of Jewish life in Hungary. While studying
composition at the Academy of Music in Budapest, Simon was encouraged
by Zoltan Kodaly to collect Jewish folk music at Hungarian villages. He
carried out fieldwork at Maramaros in 1946, and later at some other places
in Hungary, and the fruits of this research he shared with us.
Simon gave us some of his so far unpublished transcriptions. He
transcribed only the melody and indicated nothing but the name of the village
where the piece came from. But he also sang the pieces, so that we had an
idea of the tempo, and he explained the accompanying rhythm. When we
asked him about the performing style, he explained that it was no different
from the style of the Hungarian ensembles of the same region, since the
same group of musicians played for both Jewish and non-Jewish
communites. He told us, for instance that the Jewish orchestras from
Maramaros often played at Hungarian weddings, they were even invited to
as far as to the Mezoseg and Kalotaszeg of Transylvania. Simon suggested
us to try to arrange the tunes to our best knowledge according to the style
of the Hungarian peasant music of the region. In a few weeks we performed
for him the pieces as we reconstructed them on the basis of our experience
with Transylvanian music. Hearing our performance, Simon was deeply
moved. "The dead notes are alive again. Only if Szabolcsi could have heard
this!" he said remembering Bence Szabolcsi, the founder of Hungarian
musicology, who was never able to realize his cherished plan to document
the music of the Hungarian Jews.
Simon also encouraged us to continue to search for the remnants of
Jewish instrumental music. He supposed that musicians who used to play
for Jews before the war still could be found. "Your task is to find the link
between Hungarian and Jewish folk music," he said to us. That is how we
started our journey in the search of Jewish folk music. The fruit of this
search is this record.
In our fieldtrips we indeed found two excellent Gypsy musicians who
regularly played for Jews before the War: Gheorghe Covaci (known as
Cioata), a "primas" (leading violinist) from Farkasrev (Vadu Izei, Rumania),
and Arpad Toni, a cimbalom player from Vajdaszentivany (Voivodeni,
Rumania).
As a child, Covaci used to play with his father who was a fine violinist.
His father was the "primas", while Gheorghe Covaci, then as a child,
accompanied him as a "kontras" (second violinist). They were invited to play
at weddings and at dance parties. At Purim they went from house to house
to entertain Jewish families with their performance. After the war, Covaci
continued to play to those who returned from deportation.
Arpad Toni is the best known cimbalom player of the Maros region, a
real virtuoso who is capable to play with ease in various styles and therefore
is often called to play for different communities. He may provide the
accompaniment for the melody but he often performes in solo in his
inventive, improvizative style. Before the war, he was often invited to play
at Jewish dance parties, especially for the Jewish community of Szaszregen.
We recorded and talked with both Covaci and Toni several times and
recorded their playing. Later we learned the pieces with them, in their style,
following their instructions. The pieces of our Jewish program are mostly
Covaci's usual accompaniment consists of a drum and the so called
"zongura". They use something like a snare drum, only somewhat larger
which is either placed on the ground vertically or hung by stripes around the
neck. A stick with relatively large head is used. The jingling sound is
produced by a cymbal fastened to the top of the drum and struck by a thin
metal stick. The zongura is a guitar type of plucked instrument, tuned to D.
Our ensemble consists of leading and accompanying violins, three-stringed
viola, bass and a small cimbalom.
some details os some songs
HASID WEDDING DANCES
According to Gheorghe Covaci, this is a "huset" dance that he often played with
his father at weddings. He told us that, at Jewish weddings, the bridegroom personally
was in charge of the musicians. There was no advance money paid to the musician; on the
contrary, the musician paid a sort of deposit to the bridegroom. In this was they were sure
he would show up at the wedding, for he did not want to loose his money.
"I earned as much as I played. There was a certain fee for each song. At the
wedding, we used to count the songs by marking them on a chalkboard. It often happened
that the same song was requested by several people. I was lucky, I could make all of them
pay for it. Only the bridegroom did not have to pay, he could request a song free."
THE ROOSTER IS CRYING
This song is mentioned as the favorite tune of Gabor Bethlen in the trilogy "Erdely"
by Zsigmond Moricz. Gabor Bethlen, Prince of the Transylvania was an unusually
enlightened nobleman of his time whose tolerant politics allowed that all religions and
ethnic groups, including the Jews, could prosper and develop in the Transylvanian
Principality.
According to legend, this was the melody of Reib Eizik, the Tsaddik of Nagykall¢.
Bence Szabolcsi summarized the legend as follows:
"The Tsaddik who loved nature and had a poetic vein, once set out for a walk to the
nearby the meadow. On his way he heard a song from a shepherd boy. He was immediately
captured by its beauty and felt as if an inner voice were forcing him to learn it. He
approached the shepherd boy and offered him two pennies for his song. At the moment the
deal was made, the rabbi possessed the knowledge of the song. The shepherd boy, however,
forgot it forever."
This song is known all over Hungary and can be considered as the most popular folk
song among Hungarian Jews, usually performed in Hungarian with insertions of Hebrew
lines.
We play a short piece as an instrumental prelude and postlude to the song. This
is based on one of Covavi's rubato pieces which he used to play with his father at Purim.
"LAMENTING SONG"
This piece is an example of the 'rubato' genre which makes up a substantial part of
Covaci's Jewish repertoire. When we played to him the piece entitled "Haneros Halelu"
(see No. 13. of this record), he remembered similar pieces that he used to play for Jews.
He called them "Keserves", for this is the name of a genre of improvisative rubato pieces
in Transylvania. He told us how he, as a child, accompanied his father on the violin while
they played these "Keserves" pieces going from house to house at Purim. His sensitive,
rubato playing with the tension created by the drum accompaniment was a unique
experience for us.
ANE MAAMINI
Covaci knows this piece as "My dear mother" and, according to him, those who
sing it think of their mothers. He remembers that Jews who returned from Auschwitz used
to sing this song weeping. He did not know the text but recalled that the same text was
also performed with another melody before the War.
In reality, the title of this piece is the beginning words of the ....., part of the
prayers in the daily morning service (Shararit).
The performing style of this piece (slow, sensitive unornamented playing with
percussion accompaniment) is unique and suggest the existence in Hungary of a hitherto
unknown Jewish instrumental type. (See more detailed description in the musical
analysis.)
FAREWELL TO SATURDAY EVENING
Marta Sebestyen was shown this song by Zoltan Simon who encouraged and helped
her to learn it. She performs this song following the singing style of Simon.
Although the song has a liturgical text, it is not liturgical music "per se". Women
were not allowed to lead the service--to be precentors or hazzans--nevertheless, they also
prayed with melody at the synagoue and sang devotional songs at home. Simon did not
explain us the origin and the exact function of this song but it is likely to be a devotinal
song for women. Both the melodic and the rhythmic style are related to liturgical recitative,
the motives are entirely consistent with the main motive of the "Ahavo rabbo" mode. (See
the musical analysis.) Nevertheless, the strophic, symmetrical form indicates that this was
rather a para-liturgical song than part of the liturgy.
JEWISH DANCE FROM SZASZREGEN
This piece was remembered by µrpad Toni as a favorite of the Jewish community
of Szaszregen. According to him, the Jewish dance parties always started with this
number. Men and women danced it together, forming a closed circle.
The melody of this song belongs to a Jewish song type, the variants of which can
be found all over Eastern-Europe. This version is virtually identical with the famous Jiddish
song "Belz...." The rhythmic shape of the melody and especially the the rhythm of the
accompaniment, however, reminds one of the rhythmic performance of the Tango.
HAT EIN JID EIN WEJBELE
This is one of the most popular songs among the Jews of Eastern Europe and
supposedly was played in Hungary wherever Jews lived. Toni µrpad performed this song
to us as he remembered having performed it to the Jews of Szaszregen. The title of the
piece is known by him as "Ite-ite babele."
JEWISH CSARDAS SERIES FROM SZEK
Szek (Sic, Rumania) is a traditional Hungarian village of the Mezöség in Rumania.
It has called the attention of several Hungarian ethnomusicologists and musicians already
since the 1950s; we have also learned a lot from the musicians of Szek.
According to the local custom, the "primas" (leading violinist) does not perform
"pieces" as it were. Rather, he playes a variety of different melodies, appropriate for the
given dance, creating thus new cyclic forms at each occasion. The individual melodies
(which hence cannot be regarded as complete pieces) are related to the person who
considers it as his or her favorite melody. In this way, the tunes are known as, for
instance, the csardas of Zsuki, or the csardas of Lebedi. Some tunes of the Szek repertoire
are known as "Jewish csardas".
The pieces played here were collected by Bela Halmos in 1973. They were
performed by Istvan µdam (known as Icsan, born in 1908) who was one of the best
"primas" of the village. We know from the communication of Istvan µdam that Jewish
families of Szek had their own special dance parties and weddings. Their dances were
similar to those of the non-Jews of Szek except that the men and women did not hold
hands, but established contact during the dance through holding a handkerchief. These
melodies were played exclusively for Jews and never to Hungarians. One of them was
called "orosz" meaning Russion, and is a tune known with Ukranian (Russin) text form
Karpathia:
Hey koma ne zhurisya, Tayna mene po de visya!.
"HANEROS HALELU"
We have encountered this piece on the record "Klezmer music, Early Yiddish
Instrumental Music, The First Recordings: 1910-1717" (Folklyric Records 9094). It is a re-edition
of an early recording (from ca. 1910) made in Europe (Romania?) with the violinist, H.
Steiner. The title means "Bless ye the candles," and is the first line of the blessing used
for the lightening of the candles during Hanukah. There is little known about the custum
of instrument playing in liturgical or para-liturgical context. We know, nevertheless, that
in some regions Jewish musicians played before the lit candles on the first night of
Hanukkah.
Although, this item is not part of the Hungarian Jewish instrumental tradition, it was
essential for our work and for the creation of this record. It was this piece that we played
for Gheorghe Covaci asking him whether he knew similar ones. By hearing this piece, he
was able to recall the "Keserves" pieces which can be heard on this record.
In our performance, we use the duo of the violin and the cymbalom which is
without doubt one of the most traditional performing ensembles of Jewish instrumental
music. (On Steiner's recording, harpsichord substitues for the cymbalom.) This type of
Jewish ensemble had been long known in Hungary among the Jews: Mihaly Csokonai, the
famous Hungarian poet of the 18th century mentions the violin and cymbalom ensemble
of the Jewish musicians of Toponar in his poem "Dorottya."