By Dorothy Lamb Crawford
This ebook is the 1st to check the intense collecting of composers, conductors, and different musicians who fled Nazi Germany and arrived within the l. a. region. Musicologist Dorothy Lamb Crawford appears heavily on the lives, artistic paintings, and impression of 16 performers, fourteen composers, and one opera level director, who joined this sizeable migration starting within the Thirties. a few during this team have been well-known once they fled Europe, others could achieve attractiveness within the younger musical tradition of l. a., and nonetheless others struggled to set up themselves in an atmosphere usually proof against musical innovation. Emphasizing person voices, Crawford provides brief pictures 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 proficient the subsequent iteration. The ebook unearths a uniquely bright period while Southern California turned a hub of unparalleled musical expertise.
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Extra resources for A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California
No difficulties arose for Castelnuovo-Tedesco, whose family were Orthodox Jews of Spanish descent, until 1938, following the Rome-Berlin Axis Pact and Mussolini’s subsequent enforcement of the Manifesto of Race. At that time radio performances of Castelnuovo-Tedesco’s Second Violin Concerto (I profeti, the three movements of which he composed in 1931 for Heifetz on texts of the Jewish prophets Isaiah, Jeremiah, and Elijah) were abruptly banned. The composer, a former child prodigy whose music had been published in Munich when he was fifteen, was no longer allowed to concertize or to receive royalties.
In Germany in the early 1930s, Stravinsky’s works were the most often performed of all non-German composers. With his German publisher Schott’s EUROPE 15 frequent advice, Stravinsky campaigned to maintain his status in the country that provided the greatest share of his income. In 1932, the year he conducted his ballet, Petrushka, at the Berlin State Opera, Stravinsky gave an interview for the German press in which he said, “Nowhere is the art of music so consciously cultivated as in Germany, and that is a sign of a love for music.
Performance institutions such as the Pasadena Symphony, Yates’s “Evenings on the Roof,” and its successor, the “Monday Evening Concerts,” would gather strength from and give steady support to the émigrés, while the PARADISE? 34 more established institutions would variously notice, ignore, or exploit them. Despite this remarkable assembly of talent, Los Angeles itself continued to be a place of conservative—even reluctant—musical patronage. As a result, composers in particular felt a prolonged neglect.
A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California by Dorothy Lamb Crawford