Goldfaden | Jewish Music Research Centre

Interview with Zalmen Mlotek of the Folksbiene Yiddish Theater in New York

Interviewer

Informant

Click Here for Slide Show

This entry is part of an online exhibit entitled: "Abraham Goldfaden: A Centennial Tribute," prepared by Eva Heinstein with help from the JMRC staff. To view the exhibit in its entirety click on the link above.

Material Type:

Interviews

Year:

2008

Avram Goldfaden un Zigmunt Mogulesko [Abraham Goldfaden and Sigmund Mogulesco]

Author

Zalman Zylbercweig

Material Type:

Books

Year:

1936

Vagabond Stars: a world history of Yiddish theater

Author

Nahma Sandrow

This book provides an illustrated world history of the Yiddish theatre covering five continents and more than 300 years

Material Type:

Books

Year:

1996

Raisins and Almonds: Goldfaden’s Glory

Author

Marvin Caplan

On the song from Abraham Goldfaden's play "Shulamith".

Material Type:

Articles in Journals

Year:

1993

first
previous
1
2
3

AddToAny

play
pause
stop
mute
unmute
previous
next

A Polka Mazurka
Niggun of the Meggid of Mezerich From the album, "The Hasidic Niggun as Sung by the Hasidim." This dance niggun is the seventh and last in a series of niggunim sung by Bratslav Hasidim as they dance after the Shabbat evening service on Friday night. Some have attributed the niggun to R. Dov Ber, the meggid of Mezerich.
Kol B'ru'ei (Padua, Italy) From the album, "Italian Jewish Musical Traditions from the Leo Levi Collection (1954-1961)." The poem depicts "all creatures" singing and praising the unity of God, and was recited in the Italian rite during the daily morning prayer. This melody was sung only on Rosh Hashanah (New Year) in the Italian tradition of Padua.
Yigdal From the album, "Judeo-Carribean Currents, Music of the Mikve Israel-Emanuel Synagogue in Curaçao," performed by Gideon Zelermyer. The Yigdal is part of the ceremonial section of the liturgical order of Shabbat and the Holy Days in the Curaçao synagogue. It is one of the ending hymns of the service.
Eres Chiquita y Bonita From the album, "Judeo-Spanish Moroccan Songs for the Life Cycle," sung by Alicia Bendayan from Tetuan. This is a song about courtship, related to the Jewish rituals that mark the events of the life cycle.
Sweet Shalt Be My Chant From the album, "Kulmus Hanefesh," performed by Yair Harel on voice and tar, and Matti Kovler on voice and piano. A sacred hymn attributed to Rabbi Yehuda ha-Chasid, this is a Chabad tune with a near-Eastern arrangement.
Lyr II From the album, "The Music of the Mountain Jews." Lyr is a genre found among all Turkish peoples, consisting of long, complex compositions usually comprised of three parts.
Gilu ha-Galilim (Rejoice Galileans) From the album, "Nights in Canaan, Early Songs of the Land of Israel (1882-1946)." This is a Second Aliyah (1904-1914) song which became an integral part of the historical repertoire of Hebrew song. Both native-born and newly arrived pioneers sang this song in all circumstances.
Saperi Tama From the album, "With Songs They Respond: The Diwan of the Jews from Central Yemen." This is a girdle poem by Se'adia ben Amram. Saperi Tama is sung to many melodies and is one of Yemenite Jewry's most common poems.