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 appears heavily on the lives, inventive paintings, and impression of 16 performers, fourteen composers, and one opera level director, who joined this giant migration starting within the Nineteen Thirties. a few during this workforce have been well-known once they fled Europe, others may achieve attractiveness within the younger musical tradition of la, and nonetheless others struggled to set up themselves in an atmosphere frequently proof against musical innovation. Emphasizing person voices, Crawford offers brief pics of Igor Stravinsky, Arnold Schoenberg, and the opposite musicians whereas additionally contemplating their impact as a group—in the movie undefined, in track associations in and round la, and as academics who expert the following new release. The publication finds a uniquely shiny period whilst Southern California grew to become a hub of extraordinary musical expertise.
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Extra resources for A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California
54 At the end of October 1939, broken in spirit, he asked to have all his European contracts rescinded and sailed for New York; his goal was a vacation in Beverly Hills. Like her close friend Walter, the Prussian-born soprano Lotte Lehmann had adopted Vienna as her home and thought of herself as Viennese at heart. Her early training at the Hamburg Opera in 1910, under the young Klemperer, set her on her path of intensely emotional immersion in her operatic roles. From 1916 she became a favorite at the Vienna Opera, where she personified Viennese emotional warmth and charm.
Lester Horton’s work with Native American dance, Martha Graham’s new abstractions, the voluptuous costume experiments of Ruth St. Denis, and the pioneering all-male ensemble of Ted Shawn all created opportunities for young American dancers. European modern dance artists such as Mary Wigman and Harald Kreutzberg visited to perform in 1933 and 1934. At the time, however, music for dance PARADISE? 27 offered no income for the newly arriving musical émigrés, who needed to establish themselves in more lucrative fields.
Touring was the logical escape from Nazi persecution for solo performers, and in 1934–35 Feuermann set off on his first world tour; the following season another world tour included performances in Los Angeles with Klemperer. In April 1933 the final three concerts of Artur Schnabel’s Beethoven piano sonata cycle in Berlin’s sold-out Philharmonic Hall were canceled. The May 1933 celebration of Johannes Brahms’s centenary at the Berlin Singakademie, with announced appearances by Schnabel, the esteemed Polish violinist Bronislaw Huberman, and the Russian cellist Gregor Piatigorsky, was also canceled because the performers were Jewish.
A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California by Dorothy Lamb Crawford