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. By clicking on the bibliographic hyperlink at the end of each citation, you get the full reference.
“Khupe march. “When they bring the bride and groom to the khupe the ‘tsu-der-khupe marsh’ is heard.” [Orgajev, Bessarabia, c. 1930s-40s]. Bik 1964. (Musical notation included).
“The bands themselves fashioned fitting melodies for the various situations and moods during the wedding, such as bazetsn di kale, badekns, unterfirung, khupe-marsh, troyer-nign, and so forth...” Fater 1985, pp. 60-61.
“From the distance could already be heard the strains of the khupe-march, played on a fiddle, a clarinet, a drum, and a cymbal and fife/whistle... After that the bridesmaids brought the bride to the sound of music... People danced around the bride inside the house.” [Staro-Konstantin, Ukraine, 1820s-30s]. Fridkin 1925, p. 46.
“‘Khupe-march’... for rich wedding... for average wedding... [and] for poor wedding.” [Ritova (Rietavas), Lithuania]. Grod 1948, pp. 23-24. (Musical notation included).
“‘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.” [A. Schwartz; A. Elenkrig]. Phillips 1996a, pp. 16-17. (Musical notation and recording references included).
“‘Khupah Tanz #2.’ The march-like Wedding Dance #2 comes from a recording by Abe Schwartz.” Phillips 1996a, p. 29. (Musical notation and recording references included).
“‘Tanz Far Alle Mekhatonim.’ This tune is almost sufficiently lively to be a freylakh but I’ll label it a khosidl on a split decision. The Abe Schwartz Orchestra recording upon which this is based sounds like a brisk march...” Phillips 1996a, p. 43. (Musical notation and recording references included).
“‘Boyberiker Khasene Melodies.’ These four melodies were placed in the midst of a recorded skit... The third one is announced as a wedding march, but the mekhatonim would have to sprint down the aisle at the chosen tempo. The first full four measures of this part are an introduction.” Phillips 1996a, pp. 86-87. (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.” [D. Tarras]. Phillips 1996a, pp. 90-91. (Musical notation and recording references included).
“‘Khasene March #1’ [A. Statman/W. Feldman]... Despite the title it is too fast to be a march and is recorded with the rhythmic feel of a freylakh.” Phillips 1996a, p. 101. (Musical notation and recording references included).
“‘Liebes Tanz’... is based on the Abe Schwartz Orchestra recording of 1916... It is on the borderline between an up-tempo freylakh and khupe march.” Phillips 1996a, p. 109. (Musical notation and recording references included).
“After the sentimental crying, the khupe-marsh (mus. ex. 8) announces the arrival of the men and stops the wailing and sadness... to the sounds of the happy march, the bride and groom are led to the khupe... under the khupe the bride and groom approach each other... the kidushin ceremony is religious with musical accompaniment. When it is done, the melody bursts forth and from everywhere the cry ‘mazl tov’ is heard. The klezmorim play happy notes (mus. ex. 9) and accompany the guests and in-laws to the wedding-meal.” Stutschewsky 1959, p. 162. (Musical notation included).
“All the girlfriends and acquaintances came and we were happy and danced a lot... meanwhile the happy Begele Tanzel also occurred, a type of circle dance, and then the ‘khosidl,’ with a very merry melody with musical fanfare and tambourine.” Wengeroff 1913, I, p. 182.