By Dorothy Lamb Crawford
This ebook is the 1st to ascertain the intense amassing of composers, conductors, and different musicians who fled Nazi Germany and arrived within the la region. Musicologist Dorothy Lamb Crawford seems to be heavily on the lives, artistic paintings, and impression of 16 performers, fourteen composers, and one opera level director, who joined this tremendous migration starting within the Nineteen Thirties. a few during this workforce have been well-known once they fled Europe, others may achieve reputation within the younger musical tradition of l. a., and nonetheless others struggled to set up themselves in an atmosphere frequently proof against musical innovation. Emphasizing person voices, Crawford provides brief snap shots of Igor Stravinsky, Arnold Schoenberg, and the opposite musicians whereas additionally contemplating their impact as a group—in the movie undefined, in tune associations in and round l. a., and as lecturers who knowledgeable the subsequent iteration. The e-book unearths a uniquely vivid period while Southern California grew to become a hub of exceptional musical expertise.
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Extra info for A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California
When his European conducting assignments dwindled and his Berlin contract was canceled because he was Jewish, he moved permanently to California. Despite Baum’s appreciation of the beauty of Southern California, it was not a logical destination for musicians. Those entering the United States in flight from Nazi Europe in the 1930s expected to work on the East Coast; few of them intended to settle in California when they first reached the haven of America. New York drew Hanns Eisler, Ernst Toch, Kurt Weill, 23 PARADISE?
Beside the musicians, there were writers, actors, screen and stage directors, architects, sociologists, and philosophers, “the most extraordinary influx of knowledge and talent to another continent. Since the Jews in this community of exiles were, for once, not in the minority, it is, I believe, permissible to call it a ghetto . . ” While the natives frequently did not know what to make of the émigrés, empathies formed among them quickly. ”19 In this “ghetto,” the European custom of entertaining by open invitation on Sunday afternoons, or in more formal dinner evenings, offered opportunities for stimulating encounters and fruitful connections between artists of differing disciplines that probably would not have occurred in Europe.
He had trained in composition and musicology in Vienna and in Germany, where he had earned a doctorate at Münster University. Zador’s Vienna career had developed rapidly, with performances of three operas and several orchestral works. On the day of the Anschluss he returned to his homeland for protection, but it was soon clear to him that Hitler’s prohibitions against Jews were going to extend to Hungary. With the help of the New York College of Music, which invited him to teach and sponsored his entry to the United States in 1939, Zador sailed for America.