Shir Hodu — Jewish Song from Bombay of the 1930s (2019)
Продолжая вчерашнюю историю с раритетной архивной еврейской музыкой, сегодня мы переместимся в Индию, чтобы услышать еврейскую музыку индийских евреев — Shir Hodu — Jewish Song from Bombay of the 1930s (2019).
Подробнее здесь (на английском языке).
Отрывок из текста по ссылке выше:
The past few decades witnessed a growing interest in the music of the Jewish communities of India. Indeed, the emergence of the close-knit community of Indo-Judaic Studies in the academy at-large more or less coincided with this increased attention to Indian Jewish music. Sara Manasseh, an ethnomusicologist who has been at the forefront of this surge, has collaborated with record producer Julian Futter in the release of a fascinating compact disc, entitled Shir Hodu: Jewish Song from Bombay of the ‘30s. The CD features fifteen remastered tracks that were salvaged from a set of 78 rpm records, several of which Futter apparently discovered by chance, according to the press release for the producers’ other collaboration, Shbahoth: Iraqi-Jewish Song from the 1920‘s (2009). This was a significant discovery for the field of Jewish music research because, as the booklet mentions, “Until the release of this compilation it had been assumed by researchers that no recordings of Jewish music had been made in pre-independence India” (n.p.). Thus, the explicit purpose of this recording is documentary, and in this the producers have accomplished a feat of exceptional value.
The double entente of the title itself—Hebrew for “Song of India” or, in a slightly different pronunciation, “Song of His Glory” (i.e., “Song of Praise”)—implies a compelling collision of national and religious identities and their representation in music. The booklet opens with a brief “Social and Historical Background” section, which provides a useful introduction for listeners who are not acquainted with basic information pertaining to Indian Jewry (this may also serve as a practical summary for those having substantial experience with the material). Historically, the majority of Jews in India lived among three distinct communities: the Bene Israel of Bombay and its environs (present-day Maharashtra), the Baghdadi Jews, who came from mostly Ottoman lands to settle in Bombay but also in the urban centers of Kolkata and Pune, and the Jews of Cochin, from what is now Southern Kerala (some of whom eventually migrated to Bombay, as was the case with the Cochini musicians featured here). In a concise and undeniably lucid manner, Futter and Manasseh describe the important figures, institutions, and earliest origins of each of these groups, and, although the certainty of the more mythic of these accounts has been debated in Indo-Judaic Studies, the stories nonetheless testify to the historical and cultural depth of Indian Jewry as a set of ideas and practices, which have been firmly rooted in India for quite some time.
1 Adon Olam — Simeon Jacob Kharilker 3:31
2 Yom Hashabbat — Simeon Jacob Kharilker 3:30
3 Deror Ikhra — Simeon Jacob Kharilker 3:17
4 Ashir Lael — Simeon Jacob Kharilker 3:11
5 Yaroom Venisa — Simeon Jacob Kharilker 3:13
6 Hatikvah — Simeon Jacob Kharilker 3:19
7 Hai Hai El Hai — Abid David 3:20
8 Deror Yikra — Abid David 2:53
9 Aet Shaare Rason — Zaky Solomon Isaac 3:17
10 Adonai Becol Shophar — Zaky Solomon Isaac 2:55
11 Yodukha Raayonai — Zaky Solomon Isaac 3:04
12 Yom Hashabat — Zaky Solomon Isaac 3:02
13 Yom Simcha — Zaky Solomon Isaac 2:59
14 Deror Iqra — Nathan Solomon Satamkar 3:25
15 Yom Hashabat — Nathan Solomon Satamkar 3:10