Нафтуле Брандвейн: Австриялық-американдық клезмер сазгерінің өмірі мен шығармашылығы

Austrian born Jewish American musician

Naftule Brandwein, or Naftuli Brandwine, (, 1884–1963) was an Austrian born Jewish American Klezmer musician, clarinetist, bandleader and recording artist active from the 1910s to the 1940s. Along with Dave Tarras, he is considered to be among the top klezmer musicians of the twentieth century, and has a continuing influence on musicians in the genre a century later. Along with Tarras and other contemporaries like Israel J. Hochman, Max Leibowitz and Harry Kandel, he also helped forge the new American klezmer sound of the early twentieth century, which gradually gravitated towards a sophisticated big band sound.

Brandwein was born on September 20, 1884, in Przemyslany, Austro Hungarian Galicia (now Ukraine). He was born into a dynasty of klezmer musicians, part of the Stretiner Hasidic dynasty founded by Rabbi Yehuda Hirsch Brandwein of Stratin. His father Peysekhe (Paul) played violin, clarinet, and was an improvising wedding poet (Badchen); of his thirteen sons, Moyshe played violin, French horn, and valve trombone, Mendel played piano, Leyzer played drums, and Azriel played cornet; Azriel became Naftule's first music teacher, and had a lasting impact on his playing. He married his wife Dora, and they had their first son Moses, shortly before emigrating to America. Brandwein emigrated to the United States in April 1909 (although some sources say 1908), sailing from Hamburg to New York City. He was joining his brother Israel who was already living on Rivington Street in the Lower East Side; Naftule and his wife and son settled on nearby Pitt Street. He finally became a naturalized US citizen in 1919.

Naftule was already a highly skilled clarinetist when he arrived in the US and used his skills of self promotion to build himself a reputation as a klezmer and bandleader. In early 1923, he left Columbia, first making a handfulful of klezmer recordings at Emerson Records before settling in at Columbia's rival label Victor Records. The case ended up being dismissed because Leibowitz had still been a Romanian citizen when he had copyrighted the work, which gave him less protection than an American citizen would have had. His career declined from the mid 1920s onward, as demand for his traditional approach to klezmer music waned; his run of Victor Records sessions ended in 1927. From being the top musician in New York, he was reduced to playing in the Borscht Belt. He finally returned to the Victor Records studio in 1941, recording a handful of klezmer dance pieces under his own label once again. Nonetheless, he continued to work regularly until shortly before his death. He was buried in the Mount Hebron Cemetery in Flushing in the Progressive Musical Benevolent Society section.

Brandwein was known as much for his colorful personality as for his musical talent, sometimes playing with a neon sign around his neck reading "Naftule Brandwein Orchestra," with his back facing the audience to conceal his fingering tricks, or even by pulling down his pants. He also wore plugged in Christmas lights as part of his costume on several occasions, which once shorted out when he perspired too much, almost electrocuting him. His wild style incorporated the many strands of Eastern European Jewish music which was influenced by Greek, Turkish, Hungarian and Gypsy music. His warm and lively playing style would constantly jump up and down the scale and express itself in trills, slides and other ornamentation; he is often contrasted to the other famous klezmer clarinettist of his time, Dave Tarras, who had a different style of sound and phrasing. Brandwein took risks in his playing, often improvising a wildly different interpretation of a passage with each attempt.

While he did not live to witness the resurgence of interest in klezmer that began in the mid 1970s, his legacy has been revived by a new generation of klezmer musicians, who cite him as a key source of inspiration. Among the klezmer revivalists who have been strongly influenced by him are David Krakauer, Hankus Netsky, Alicia Svigals, and Michael Winograd. The intricate traditions of klezmer music are not well preserved in sheet music, and his recordings are one of the main sources people look to for the "original" klezmer style.