The arrangements rede ne the soundscape; they modify the spectator’s original experience of the music, but without damaging the images he or she already associates with it.
In this recording, the violin replaces the human voice (songs are important components of several of the soundtracks, for instance Yentl, Fiddler on The Roof, and Yidl mitn dl/Yiddle with his Fiddle): it plays the melody, and it has the evocative power to grab our attention. In Western thought, as well as in secular Jewish tradition, the violin is intimately connected with melodies and emotions. Melodies and the music of lms are inextricably linked. The melody is more than a sound decoration, it avors the whole movie with its evocative perfume while implicitly telling a wordless story; the characteristic sound of the violin reinforces this emotional power.
