Le Petit Mish Mash

Clarinetist/flutist Marine Goldwaser, musician of the new klezmer scene, gypsy accordionist Adrian Iordan, from Bucharest, and cymbalom player Mihai Trestian, concert artist trained at the Conservatory of Chisinau (Moldova) knew the moment that they became aware of each others’ musical heritage and styles and began playing together, that the prospect of a new ensemble was not only an exciting possibility, but inevitable. Meshing klezmer and gypsy music, the three musicians intricately weave their cultural and musical identities, tackling an original reading of their ancestral repertoires, and develop an interpretation according to which the search for authenticity is combined with the resources of the imaginary; Romanian dances with swirling, multi-paced rhythms intertwining with ancient transfigured klezmer melodies. From this mirroring you are invited on a musical journey through the group’s revisited soul-inspired soundscapes.

News

Nouvelles de Printemps

Mar 14, 2019

Après un voyage d'hiver outre-Atlantique de sa clarinettiste à la rencontre du yiddishland new-yorkais, le Petit Mish-Mash a repris du service le 23 février dernier devant la salle comble d'Hélicoop, dans les Vosges, et s'apprête à remonter sur scène le 15 Mars...

Stage de musique klezmer/roumaine été 2019 en Roumanie

Feb 7, 2019

Le Mish-Mash organise son premier stage, qui aura lieu dans les Carpates de Moldavie roumaine, dans le cadre pittoresque de Ceahlau; les places sont limitées et la semaine promet d'être riche de musique et de gastronomie roumaine, émotions garanties! Infos...

Retour en images sur notre séjour à Bucarest et la tournée en Suisse

Nov 1, 2018

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On tour

Audios

Starting point

It does not take a long time for the curious who are looking at the roots of klezmer music to find oneself in Romania. Sweet Bessarabia, this ancient province of Moldavia, whose nostalgia brought to America a whole generation of Jewish immigrants during and between two wars and is so often mentioned in the songs, the poems, and the music of the small Ashkenazi world in the diaspora. This teeming cultural area had a singular destiny, caught in the tornadoes of history in the last century. Linked in turn to Romania and Russia, this region, which became a republic after the fall of the communist bloc, also sheltered a bit of Yiddishland that had been booming since the nineteenth century, and a great cultural heritage has fortunately survived beyond the Holocaust. It was the birthplace of Yiddish theater and the fertile ground of an important part of the Ashkenazi culture that developed there through theater, literature, painting and of course music.

All around, there was a rich and varied musical activity. While in the cities the artistic creation was in full swing, the life of the Romanian villages and that of the shtetl were punctuated by traditional music. The professional musicians of that time, Jews or Gypsies, roamed the region to practice their craft, peddling local repertoires, sometimes carrying with them some specific melody found on the way, weaving links and undoubtedly exchanging the multiple repertoires that were played. As a result, the traditional Klezmer, Moldovan and Gypsy repertoires that have come down to us today bear witness to this exchange. Because of their similarities in certain places, certain melodies, similar in their main structure but with different styles and interpretations, find themselves affiliated with the folkloric heritage. Moldovan on one side, reappear in the form of a gypsy song on the other, or find themselves transformed into a klezmer dance melody.

It was following this thread that Marine Goldwaser found herself bound to Romania and involved in research, fell in love with its music, hearing and making the connection with something echoing deep down inside her soul-klezmer music, which she had been nursed with in her childhood in her father’s Yiddish theater and inherited from the Ashkenazi culture of her grandparents, a traveling culture that crossed the Atlantic to America.

Following research conducted at the CNSM and returning from an apprenticeship in Bucharest, Marine Goldwaser brought together Mihai Trestian and Adrian Iordan for an initial meeting which sealed the creation of the group and marked the beginning of their personal musical adventure.

In the Yiddish language as in Romanian, mish-mash means a mixture; this is what inspires this trio, halfway between the folk music, gypsy and klezmer cultures of Romania. Gathered around these traditional repertoires, the three musicians draw their inspiration from the ethnic and ritual roots of these musical forms and infuse their multiple identities to propose a modern and unprecedented interpretation and multi-faceted repertoire.

Gallery

The team

Mihai Trestian

cymbalum

Né en Moldavie, il décroche le Premier Prix aux Concours National Stepan Neaga ainsi qu du Concours International Barbu Lautaru avant de devenir membre de l’Orchestre Tele Radio Chisinau Folclor.

Suite à une résidence de création à l’abbaye de Royaumont, il participe aux tournées Chants du Monde de Jean-Marc Padovani en 2000/2001.

En 2002, le compositeur Gerardo Jerez Lecam l’embauche dans son quartet. Il travaille depuis régulièrement avec lui. Depuis 2004, il vit en France et collabore avec l’ensemble Daniel Givone, Sébastien Ginieux, Iacob Macciuca, l’ensemble Intercontemporain, l’ensemble Ars Nova, … Il développe aussi des projets personnels tels que Ciocan et Altfel. depuis sa rencontre avec Amit Weisberger, il se passionne pour la musique Klezmer et membre dans “Yiddishé fantazyé” (trio klezmer ancien) et la fanfare “Beigale Orkestra ».

Marine goldwaser

clarinette/flûtes

Marine Goldwaser is a musician living in Paris. As a clarinet and flute player, she is regulary invited to perform and to teach all around the world with her band “Le petit Mish-Mash” and other projects (France, Israel, New-York, Bucarest…)

The deep cultural heritage she received from taking part into her father’s Yiddish theatre company shows during her childhood still influences her current path.

She studied theater, recorder and clarinet at the Strasbourg conservatory (France), then continued her studies at the CNSM of Lyon, where she earned a masters in musical research on and interpretation.

She performs with many ensembles of various music, and works also with several theater companies (principally « Der Luft Theater », « Beliashe » and « Le Guépart Echappée » (France).

Passionated bye klezmer music, she develops a personal research about east european jewish music roots: she travels around Romania to make a field research on relationships between klezmer and gipsy old repertories, and study with the lautar Cezar Cazanoi, one of the most important figure of the actual gipsy and traditionnal musical scene of Bucarest.

adrian iordan

accordéon

Accordéoniste issu d’une famille de musiciens tziganes de Bucarest, Adrian est installé en France depuis plus de dix ans et y développe une carrière musicalefoisonnante: Il crée deux groupe de musique tzigane ( Finzi Mosaique Ensemble et Lautari de Bucarest ) au sein des quels il est directeur artistique. Outre sa carriere de comédien avec la Cie. de l’archet et souflet ( théâtre-muscial ) , Il travaille avec l’ensemble de musique baroque “ La Tempesta” sous la diréction du violoniste Patrick Bismuth avec lequel il monte un répértoire croisé de musiques baroques et tisganes ( création a l’Abbaye de Royaumont ).

Il se produit depuis 15 ans dans différentes formations (Binobin, Soha, Tomuya, Arbols, Les Attaqués, Dj Click, Gaelle Marie , etc.. ) sur des scènes comme l’Olympia de Paris, le Zenith, Le New Morning, Le Théâtre des deux Ânes, La Halle aux Grains de Toulouse, Le Parco Theatre de Tokyo, le Global de Copenhague, etc…