This entry is part of the Lexicon of Klezmer Terminology (LKT). The LKT compiles a wide array of source materials that shed light on the historical and contemporary state of knowledge about klezmer music. Each entry includes a number of citations from primary and secondary sources that include or refer to the term in question. It also indicates whether musical notation or sound recordings are included in the source. To view the full reference, click on the bibliographic hyperlink at the end of each citation.
“Fun der khupe (freylekhs).” Beregovski/Goldin 1987 # 16, 59. (Musical notation included).
“‘Fun der khupe marsh’ .” . Bik 1964. (Musical notation included).
“Old women sing this song when they dance opposite the groom with the bride, while they proceed back from the khupe.” . Cahan 1938, p. 306 (48).
“The bazetsh di kale, leading from there to where the wedding took place, to the khupe in the large synagogue, and back home -- all to the sounds of a ‘freylekhs’... Often the wedding-parade stretched over several streets before leading the in-laws back home, accompanied the whole way with the A. G. ‘getsoygene motive.’” . Katshke 1966, p. 666.
“After the khupe according to Jewish custom, they led the joyful couple together on a full route, dancing opposite them with a large challah with a lit oil lamp in it.” . Kleydman 1966, p. 164.
“‘Freylakhs fun der khupe.’ This rollicking wedding march translates as Freylakh from the Wedding Canopy... Trills, quick triplets and wicked chirps help establish the mood.” . Phillips 1996a, pp. 16-17. (Musical notation and recording references included).
“‘Fon der khupe #1’ ... 'Fon der khupe #2’... From the Wedding Canopy #2 has been recorded from medium speed wedding march to freylakh overdrive.” . Phillips 1996a, pp. 90-91. (Musical notation and recording references included).
“Returing from the synagogue the groom was already led together with the the bride, and the klezmorim played the usual march from the khupe .” . Zeyerman 1968, pp. 348-49.