Customer Reviews

Maramaros: The Lost Jewish Music of Transylvania

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This is a fine performance of some beautiful Old World Jewish melodies. As the very complete liner notes explain, most Eastern European musicians in the pre-Holocaust world knew both Jewish and non-Jewish music, because they would play at all kinds of events for both communities. Sadly, the Jewish musicians who played this music perished in the Holocaust, but the music was remembered by non-Jewish musicians and later collected. Hence the reference to "lost" music. However, some of it is not really as "lost" as the notes imply. For example, "Ani Maamin" is well-known among Jews in the USA and is almost always sung at Holocaust Remembrance Day services. The words (not sung here -- the CD is instrumental) are from Maimonides (12th century) and the tune is attributed to the Breslover Hasidim, whose 18th-century Rebbe, Nachman of Breslov, taught them never to despair under any circumstances. Because of this theme, the tune later became popular in the concentration camps and among the resistance fighters. Hence the current association with the Holocaust.

There are other pieces on this CD that I've heard at Jewish weddings, long before this CD came out. In short, the music may have been lost in Eastern Europe, but much of it had already crossed the Atlantic before the Holocaust. I found myself wondering if the ethnographers who collected this were familiar with the American Jewish community. Nevertheless, what makes this CD special is the performance itself, which is based on the Hungarian/gypsy style, rather than the "Americanized" versions. It's definitely worth buying.

When you first hear the first notes of Maramaros, The Lost Jewish Music of Transylvania, you are in for in for some treat. This is no ordinary klezmer music. The album features Hungarian Jewish music once thought lost, but reconstructed here with the help of material collected in the 1940's, and from two Hungarian Gypsy musicians familiar with this music.

Both Gheorghe Covaci, lead violinist of Farkasrev, and Arpad Toni, a virtuoso cimbalom player, played for Jews before the War. They are featured on this album leading most of the songs accompanied by Muszicas on bass, guitar, and violin. The performances are excellent throughout the album. Most are instrumental pieces, with the exception of two, and Marta Sebestyen provides vocals on those.

The liner notes for this CD were written by Judit Frigyesi, and are very informative containing history, personal anecdotes, and a very technical section on Jewish music theory. If you like Hungarian folk music, "old-time" klezmer, and/or are curious about an aspect of Hungarian/Romanian Jewish music and culture that has disappeared since World War II and Communism, then this album comes highly recommended. rkchin. http://www.nychinatown.org

This is the closest we can get to musical archaeology. The Muzsikas Ensemble did a marvelous work, researching the remnants of a dead culture. But, even if you consider its musical quality only, this record still stands on highest ground. The music, rhythm, the voice of Marta Sebestyen... This is the kind of CD you'll like the first time you hear. I do highly recommend it.
(And yes, the theme of 'The English Patient' is there also. It is an old Yiddish prayer).

I found this CD absolutely enchanting. It is not the usual 'commercial' Klezmer music that can be heard everywhere, but a wonderful fusion of traditional Jewish and Hungarian/Gipsy folk. The melodies are both beautiful and subtle, and the voice of Marta Sebestyen on two tracks is unforgettable. The accompanying notes are a great plus. If this group comes to the UK, I'll be there!

The tragic story behind this record is that the recordings are mostly by two gypsy performers who once performed for the Jewish community; the original Jewish instrumental musicians died in the Holocaust. But the selections are interesting, and also some Transylvanian melodies as well, plus a good number by Muzsikas itself. Very complete notes are a real asset. You're likely to like this.

Little I can add the the excellent reviews already offered here below. One thing, There are two vocal performances. I have the lyrics to Rooster Is Crowing, but the other I do not. Although it is apparently in Hebrew, the pronunciation is so idiosyncratic I can't make out the words, nor can any of my Jewish friends, including one who is Israeli. The problem could be Ms. Sebestye'n but I doubt it. Her teacher is perhaps not Jewish, or else this is correctly pronounced but in a very distinctive and strong Transylvanian accent. In any case I need help. If the text is taken from a prayer, you could simply refer me as I read Hebrew just fine. Otherwise I would appreciate any help. The performance is so wonderful I really would like to know what she is singing. By the way I can certainly show my appreciation in like fashion. I have lyrics to all Muzsikas recordings in Hungarian and to most in English as well and would be glad to share.

I can't add much to the foregoing review, in which I concur. I was much moved by this music from a world that died half a century ago. Bitter-sweet, joyous and sad. I commend it to you. Buy it.

This is one of my favorite Jewish music albums!

As far as some of the reviews concerned ("Red granite", "Tziganul") about whether this music has some Hungarian or Romanian influence I have something to say from my personal experience. I've lived with a Jewish family for 2 years (I was a Nanny) in England and got to like Jewish music a lot, that's why I bought this album and it brings back good memories too.

The Family (from the Mothers side) came from Transylvania and speak Hungarian. I also have relatives living in Maramaros who are Hungarians. Also, Transylvania belonged to Hungarians (Magyarok) from 895-WWII. ...and even before, from 380(Huns). So I just cannot imagine not to have any Hungarian influence on this music.

On the other hand, along the years many people of different nationalites settled down in Hungary (therefore to Transylvania too). Of course, before Hungarians and the Huns settled in todays Hungary, territories were rarely populated unlike today(and back then weren't countries only tribes and tribes did move around). Many nationalities hold claims over Transylvania (in my humble opinion, the best solution would be if Transylvania wouldn't belong to anybody, it'd have autonomy - then we may all have peace.)

So that's said, We all know there are so many nationalites that have lived (many of them assimilated already or fluorished) or still living in Transylvania; cultures being so close to one another are going to have an impact on each other in music and in many other ways too.

I refer mainly to the technique and musicality of the players. The atonality, the nuances, the striking of the bows stay with me.I feel a sense of place and close to the music through this impeccable recording. I look forward to sending this CD to some of my friends . One small change I would have made though, I would have concluded it on a livelier note. Actually not... I agree, bitter sweet.

Maramaros: The Lost Jewish Music of Transylvania
I enjoy this album totally. It brings feelings of country fiddlers as well as classical violin music to me.