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  • 1
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 94-112
    Keywords: Meyer, Ernst Hermann, ; Freier Deutscher Kulturbund in Grossbritannien ; Jewish musicians ; Jewish refugees ; Return migrants ; Communism and music ; Antisemitism ; Antisemitism
    Abstract: The article deals with the musical activities of the exile organisation Free German League of Culture that was active in the UK during the time of the Second World War, focusing in particular on Ernst Hermann Meyer’s role in these activities. The history of the League (especially its musical dimension) has received rather scant attention from scholars, in part because of the lack of access to the materials that were transferred to East Germany after the war. I offer several explanations for the focus of the musical events of the League on the Austro-German musical canon at the expense of modernist music, much of which was written by Jewish composers who were forced into exile. Particularly significant was the communist core of the League in advancing ideological positions that foreshadowed debates about nationalism and race in postwar East Germany.
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  • 2
    Article
    Article
    In:  Music and Exile (2023) 168-191
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 168-191
    Keywords: Reizenstein, Franz, ; Jewish composers ; Jewish refugees ; Opera ; Radio and music
    Abstract: One major work stands out from the large compositional output of émigré composer and pianist Franz Reizenstein (1911–1968), in respect of its close relationship to his personal experience as a refugee, the one-act radio opera Anna Kraus (1952). It was the BBC’s first ‘radio opera’ and the British entry for the 1952 Italia Prize. Remarkably, however, since its first broadcasts, it has never been revived. It is my contention that Anna Kraus represents a stimulating commentary on the experience and trauma of the Holocaust. I trace the opera’s genesis and reception within the context of the composer’s life and contemporary social-political events of the time, and propose that its artistic achievement resides in three main aspects: its contemporary musical language; its innovative form belonging to the emerging genre of ‘radio opera’; and how it is one of the earliest operas to grapple with the theme of the Holocaust and its psychological impact. Its continued relevance in our own time suggests that the opera deserves a long-overdue revival.
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  • 3
    Language: German
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 53-74
    Keywords: Kitchener Camp for Refugees ; Hay Internment and Prisoner of War Camps ; Jewish musicians History 20th century ; Jewish refugees ; Jewish refugees ; Holocaust, Jewish (1939-1945) ; Internment camp inmates as musicians ; Exiles
    Abstract: When, after the November pogrom, German Jews desperately searched for ways to leave their country, the Central British Fund for Germany Jewry persuaded the British government to allow the rescue of children and adult men. An old First World War base known as Kitchener Camp was rented and transformed into a transit camp. Already by the end of January 1939 the first refugees had arrived. Among the about 4,000 men, who in the end found a temporary home here, were the violinist and conductor Majer Pietruschka, born in 1901 in Russia, who had lived in Berlin; and the nineteen-year-old violinist Otmar Silberstein from Graz, Austria. They became members of the newly created Kitchener Camp Orchestra und appeared in concert. From May 1940, all Jewish refugees in Great Britain were regarded as ‘enemy aliens’. Consequently, these musicians were deported aboard the ship Dunera to Australia. The present article describes the road of life of these and other refugees, who contributed to the cultural life in internment camps in Britain and Australia.
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  • 4
    Article
    Article
    In:  Music and Exile (2023) 134-154
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 134-154
    Keywords: Goldschmidt, Berthold ; Goldschmidt family (Hamburg, Germany) ; Jewish composers Biography ; Jewish composers Biography ; Jews Genealogy ; Hamburg (Germany)
    Abstract: Berthold Goldschmidt was born in Hamburg in 1903. He had strong family ties to the city. He studied composition and conducting in Berlin. After 1933 he composed and performed works connected with the Jewish community. In 1935 he fled from the Nazis to England. Much later, after the war he visited Hamburg several times where his works were performed, including a lecture-concert in 1991 featuring an interview with the author. Here they discussed his projected string trio Retrospectum, which autobiographically alludes to his prewar life in Hamburg, referred to in his late works as ‘HBG’. Hamburg also hosted his ninetieth birthday gala concert in 1993 and was where, in 1996, he gave his last public performance as pianist. He wrote incidental music for W. Borchert’s Draußen vor der Tür.
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  • 5
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 217-236
    Keywords: Gellhorn, Peter ; Jewish musicians ; Jewish refugees ; Jewish composers ; Music History and criticism
    Abstract: This chapter retraces the author’s journey of discovery during the Arts and Humanities Research Council (AHRC)-funded research project ‘Exile Estates and Music Restitution – The Legacy of Conductor/Composer Peter Gellhorn’ at the Royal College of Music in 2016. Born in Breslau, Peter Gellhorn (1912–2004) studied at the Staatliche Hochschule für Musik in Berlin (1929–34). His father was Jewish, and in 1935 he emigrated to the UK. From 1935 to 1939 he worked at Toynbee Hall, an arts centre dedicated to social reform in East London. Following his internment on the Isle of Man in 1940/41 he worked for the Vic-Wells opera company in London. After the war, he embarked on a successful career as a conductor and chorus master, with tenures at the Royal Opera House, Glyndebourne Opera and the BBC. Around the time of his emigration, at Toynbee Hall, during internment and occasionally after the Second World War, Gellhorn wrote a substantial amount of chamber music, piano music and songs, the manuscripts of which are now in the British Library. In 2016, a team of musicians and researchers at the Royal College of Music (RCM) prepared editions from these manuscripts and performed many of the pieces in workshops, concerts and recordings. This article explores these musical works in the context of Gellhorn’s story as a resourceful and influential musician in Britain.
    Note: Includes a complete list of Gellhorn's works.
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  • 6
    Article
    Article
    In:  Music and Exile (2023) 29-52
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 29-52
    Keywords: Jewish musicians History 20th century ; Jewish refugees History 20th century ; Exiles ; Holocaust, Jewish (1939-1945) ; Austria History Anschluss, 1938 ; Netherlands History German occupation, 1940-1945
    Abstract: Occupied by Nazi-Germany in May 1940, the Netherlands was not the safe haven that over 300 Austrian music professionals had hoped for when fleeing their country after the Anschluss. For about one hundred musicians with an Austrian background, who did not succeed to move on to the Netherlands’ neighbouring countries or overseas in time, it meant being stranded, sharing the tragedy of Dutch Jewry. In spite of resistance and rescue, the history of the Netherlands under German occupation is also a history of naivety, indifference, collaboration and betrayal, resulting in the highest number of Jews (in relation to the Jewish population) in Western Europe being deported and murdered during the Second World War. As little attention has thus far been paid to the specific areas of exile from Austria in the Netherlands – and to Austrian music exile in particular, the story of these musicians, who permanently or for a longer period found refuge in the Netherlands during the Second World War has, with a few exceptions, remained untold. In this very first article on Austrian music exile in the Netherlands, three categories will be examined more deeply, covering a wide range of professions and music scenes: musicians from Austria who already lived or worked in the Netherlands before the Anschluss; the vast group of transmigrants; and music exiles who were trapped in the Netherlands after May 1940.
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  • 7
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 75-93
    Keywords: Jewish musicians History 20th century ; Jewish refugees ; Jewish organizations ; Musicians Labor unions ; Shanghai (China)
    Abstract: From 1938, about 18,000 mainly Jewish refugees fled to Shanghai from the German Reich. They included more than 450 musicians. In this treaty port, economics and politics had priority. Musical life was not at the centre of interest and differed from what the refugees were used to. Hardly any urban subsidies and no professional organisations existed. Thus, in order to prevail economically, socially and culturally, the refugees founded several organisations modelled after those they had known before. The Artist Club, and later the European Jewish Artist Society, wanted to create jobs and strengthen the cultural heritage of the refugees. This turned out to be difficult in view of a shortage of funds and small audiences. The Shanghai Musicians Association was a union and campaigned for better working conditions, fee controls and reduced competition in the entertainment venues. It was rather successful, but it had to adapt constantly to changing political and economic conditions. The Association of Jewish Precentors was a professional association for Jewish synagogue cantors. It worked in relative isolation and developed into a kind of cooperative for liberal and conservative cantors. In addition to social and cultural objectives, it also sought to balance economic interests.
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  • 8
    Language: German
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 155-167
    Keywords: Goldschmidt, Berthold. ; Goldschmidt, Berthold Appreciation ; Jewish composers ; Exiles ; Opera
    Abstract: ‚Forgotten and rediscovered‘ – such is the framework within which to approach and appreciate the life and work of Berthold Goldschmidt. A key phrase that indicates the influence of socio-political conditions and music-aesthetic currents on Berthold Goldschmidt’s biography, and its reflection in the reception of his compositional oeuvre. This is especially exemplified in Goldschmidt’s so-called bel canto opera Beatrice Cenci, last produced in July 2018 as part of the Bregenz Festival. The difficult, even tragic, situation of the ‘British composer of German birth’, as he is described in the Grove Dictionary of Music and Musicians, is documented in its choice of subject as well as in the history of its reception. In this essay, both the choice of subject and music-dramaturgical conception of Beatrice Cenci are addressed, as well as its history of creation and reception.
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  • 9
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 237-258
    Keywords: Kowalski, Max, ; Kowal, Michael ; Jewish composers ; Jewish refugees ; Jewish composers ; Songs History and criticism
    Abstract: This essay examines the four documented encounters between the song composer Max Kowalski (1882–1956) and his nephew Michael Kowal in Berlin (1936), New York (1950), London, and Geneva (the latter two visits in 1955), biographically and musically. Michael Kowal’s recollections provide both inspiration and a framework for a discussion of three song collections that together illustrate the broad poetic and thematic range across Kowalski’s output of more than 250 songs: the fourteen Kinderlieder (1936), the Acht Lieder auf Gedichte von Hafis (1948), and the Sieben Lieder auf Gedichte von Rainer Maria Rilke (1951). These songs and visits find Kowalski in three significant stages of his life and career: (1) his years as a member of the Frankfurt Kulturbund in Nazi Germany, (2) his final period of compositional productivity after the war in London, following his second marriage, and (3) the year before his death, by which point he had stopped composing.
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  • 10
    Article
    Article
    In:  Music and Exile (2023) 10-28
    Language: English
    Year of publication: 2023
    Titel der Quelle: Music and Exile
    Angaben zur Quelle: (2023) 10-28
    Keywords: Jewish composers History 20th century ; Exiles ; Jews, Austrian Identity ; Austria History Anschluss, 1938
    Abstract: Before 1918, there were two Austrian identities, the German-Austrian and the Austrian who hailed from the non-German speaking regions of the Habsburg realm. Their self- identification as ‘Austrian’ was distinct from German-Austrians, many of whom were disappointed at Bismarck’s view that Austria was not a German nation. With Habsburg Austria reduced to a small Alpine republic made up of Greater Austria’s German speaking provinces in 1918, Austrian self-identification became yet another question. Many who hailed from the distant corners of the Empire still regarded themselves as Austrian. Yet, this self-identification took another blow with the annexation of Austria in 1938 when all Austrians, with the exception of Jews, became German citizens. This development left Jewish composers who considered themselves Austrian in limbo, particularly if they had fled abroad. Many felt no connection with the new republics of Poland and Czechoslovakia and did not speak the national languages or identify with their cultures. In exile, there continued a search for a return to a lost Austrian identity – even if the country itself no longer existed.
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