Klezmer music, performed mainly by Jews (in the course of time Jewish origin wasn’t necessary); in the ordinary meaning Jewish music, although it isn’t synonymous with its musical concept.

In the standard Klezmer repertoire, apart from the traditional dances and Jewish melodies, there were also folk local music of not Jewish societies and ethnic groups e.g. Gypsies, typical melodies of town parties,  light classical music, and vaudeville hits.

 For example in the 1920s and 30s in this repertoire among European quadrilles, waltzes, tangos, polkas, and popular American dances, appeared also Charleston and foxtrot, as well as melodies from musicals.

 Hammered dulcimer players and Jewish Klezmers played superbly Polish music: Józef Elsner – outstanding Polish composer of the 19^th century and Chopin’s teacher, in one of his letters to Allgemaine Musikalishe Zeitung in Lipsk stated that: “Jewish musicians play polonaise in the perfect Polish spirit that nobody will equal them.”

 Klezmer weren’t exactly musically educated, but many of them were highly performing virtuosos. Some of them moved from Klezmer art educated artistic performance. The tradition of making music was handed down from generation to generation, the most often in families. Father was a master to his son and he handed down his acquisited experience to his descendant. In this way the whole Klezmer dynasties appeared taking care of their ancestors’ output.

The same was in the Carpathian melting pot, but here the concept of ‘klezmer’ and ‘klezmer music’ was much more extensive. It consists of cultural wealth of many nations inhabiting the Carpathians, and the meaning migration of societies (also Klezmer) of Jewish origin in this quite hermetic area.

For us Klezmer musicians from the Carpathians are the vied example of possibilities of culture blending of different forms and music styles in one fascinating unity. Unity of music consisting of a comprehensible and close to us sense. Music without borders.