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Endnote: Pinky Weber’s Forgotten Niggun

Riki Goldstein

Every artist wants his album to be as perfect as can be, but sometimes he has to take a gamble. Is the song going to soar or flop?

Wednesday, August 09, 2017

 Mishpacha image

From left to right: Yonatan Razel, Motti Illowitz, Naftali Schnitzler, Abie Rotenberg, Pinky Weber




"We were sitting outside Kever Shmuel Hanavi for a nighttime kumzitz with a group of bochurim. I was playing the guitar, and I composed a song on the spot for the words from Ana Bekoach – ‘Yachid gei’eh le’amcha penei.’ A while later, one of those bochurim got married and he asked me to sing that new composition at his wedding. I told him ‘I would gladly do it, but I don’t remember the tune.’ No problem, though—he had recorded the kumzitz on his phone. Usually I compose in the studio, and this one just came to me on vacation, so I hadn’t thought of recording or selling it. Once he had reminded me, though, I sold it to a popular singer in Eretz Yisrael, Arele Samet, who is releasing it on his first solo album soon.”
 

LAST MINUTE DECISIONS

Every artist wants his album to be as perfect as can be, but sometimes he has to take a gamble. Is the song he’s deliberating over going to soar or flop? Is the intro going to hook the guys or be a sleeper? How do these entertainers know they made the right choice? 


Yonatan Razel

“I wrote the song ‘Katonti’ with three different intros, and each one had a place in my heart,” says the Jerusalem-based composer. The intro to Yonatan Razel’s ‘Katonti’ is a beloved piece in its own right. A classical style and rippling string movements capture the heart of the song even before a word is sung. But it almost wasn’t. “I was so torn over which one should be the final choice. It was Yochi Briskman who said ‘this is the one.’ The verdict? I think he was right.” (Excerpted from Mishpacha, Issue 672)



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