By Dorothy Lamb Crawford
This publication is the 1st to ascertain the intense collecting of composers, conductors, and different musicians who fled Nazi Germany and arrived within the la quarter. Musicologist Dorothy Lamb Crawford seems to be heavily on the lives, artistic paintings, and effect of 16 performers, fourteen composers, and one opera level director, who joined this huge migration starting within the Thirties. a few during this staff have been recognized once they fled Europe, others may achieve attractiveness within the younger musical tradition of l. a., and nonetheless others struggled to set up themselves in an atmosphere frequently immune to musical innovation. Emphasizing person voices, Crawford provides brief photos of Igor Stravinsky, Arnold Schoenberg, and the opposite musicians whereas additionally contemplating their impact as a group—in the movie undefined, in song associations in and round l. a., and as academics who educated the subsequent iteration. The booklet unearths a uniquely vivid period whilst Southern California turned a hub of remarkable musical expertise.
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Extra info for A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California
She rented out their Berlin house and joined him with their four-year-old daughter. The president of Berlin’s Academy of Arts declared in March 1933 that Jewish influences must be ended at that institution. On May 17, warned by his brother-in-law Rudolf Kolisch’s telegram that Berlin was unsafe for him, Schoenberg, with his young wife and baby daughter, left for Paris. There Schoenberg threw his considerable energy into plans to rescue Europe’s Jews, setting aside his composing. In July he rejoined the Jewish religion in Paris, thirty-five years after leaving Judaism as a twenty-fouryear-old in Vienna.
25 Because of the universality of their creative language, the émigré musicians had an advantage over writers whose languages were foreign to Americans. This difference played a large role in the musicians’ choice to remain in their new homeland until the ends of their lives. In so doing, the European musicians helped bring Southern California’s musical culture to maturity. In turn, the émigré musicians were changed by this experience: Los Angeles became a place where Hugo Strelitzer could dream of, plan, and execute a new American approach to opera training; it was a place where Otto Klemperer, always the frustrated composer, could study composition with Schoenberg; where Schoenberg would return periodically to tonality in his desire to have his music more widely appreciated; where Stravinsky would transcend his antipathy toward Sergey Rachmaninoff and become so influenced by Schoenberg that Ingolf Dahl would find the Stravinskys’ living room filled with the sounds of Schoenberg’s Verklärte Nacht.
An intellectual aristocrat conversant in at least six languages, he suddenly found himself declared a noncitizen, unable to send his two children to school. 56 The policies against Jewish musicians spread as Hitler occupied Czechoslovakia and Poland in March and September 1939. Bohemian-born Jan Popper was working at the German Theater in Prague under conductors George Szell and Fritz Zweig in the late 1930s. As Czechoslovakia struggled under Nazi domination, Popper became a freedom fighter, serving as a parachutist in the Masaryk League.