Orchestration
Klezmer is generally instrumental, although at weddings klezmorim traditionally accompany the wedding entertainer. A typical 19th century European orchestra included a first violin, a contra-violin (or modified 3-stringed viola also called Groyse Fidl, Sekund, Kontra or Zsidó Bratsch ), a tsimbl (cimbalom or hammered dulcimer), a bass or cello, and sometimes a flute. The melody is generally assigned to the lead violin, while the remainder providing harmony, rhythm and some counterpoint (the latter usually coming from the second violin or viola). The inclusion of Jews in tsarist army bands during the 19th century led to the introduction of typical military band instruments into klezmer. Brass instruments—such as the French valved cornet and keyed German trumpet— eventually inherited a counter-voice role. Modern klezmer instrumentation is more commonly influenced by the instruments of the 19th century military bands than the earlier orchestras.The orchestration employed by Joel Rubin — one of the most experienced and knowledgeable contemporary klezmer musicians — represents a historically justified link with that of contemporary ethnic music ensembles of Romania and Hungary.
Percussion in early 20th Century klezmer recordings was generally minimal—no more than a wood block or snare drum. (The snare drum is the more "authentic" of the two. The use of a wood block by modern klezmorim is an attempt to imitate recordings from the early 20th Century that replaced snare drums—which tended to overwhelm the recording equipment of the time—with quieter instruments. In Eastern Europe percussion was often provided by a drummer who played a frame drum, or a poyk, sometimes called baraban. A poyk is similar to a bass drum, and often has a cymbal or piece of metal mounted on top. In Bulgaria, Serbia, and Macedonia, sometimes the pikeler also played in the tapan style, i.e., with a switch in one hand on a thin tight head, and a mallet in the other, on a thicker, looser head.
Some klezmer revival bands look to loud-instrument klezmer, jazz, and Dixieland for inspiration. Their band is similar to a typical jazz band, with some differences. They use a clarinet for the melody, and make great use of the trombone for slides and other flourishes. When a cymbalom sound is called for, a piano is played with sustain. There is usually a brass instrument ensemble, and sometimes there is a tuba for a bass. Performers in this style include The Klezmatics, Klezmer Conservatory Band, and The Maxwell Street Klezmer Band. Other klezmer bands look back to different eras or regions, and attempt to recreate specific styles of klezmer — for example, Budowitz, the Chicago Klezmer Band, Veretski Pass, and the album "Maramoros: the Lost Jewish Music of Transylvania" by the Hungarian band Muzsikas.
Klezmer instrument choices were based, by necessity, on an instrument's portability. Music was required for several parts of the wedding ceremony, which took place in different rooms or courtyards, and the band had to relocate quickly from space to space. Further, klezmorim were usually itinerant musicians, who moved from town to town for work. Therefore, instruments held in the hands (clarinet, violin, trumpet) or supported by a neck or shoulder strap (accordion, cimbalom, drum) were favored over those that rested on the ground (cello, bass violin), or needed several people to move (piano).
In America, this trend continued, with hand-held or strap-held instruments like guitars, saxophones, and even harmonicas integrated into klezmer ensembles more than larger instruments. The average American klezmeer wedding band, for instance, uses a portable electronic synthesizer, not a piano.
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