March 7, 2017

A Windfall of Musicians: Hitler's Emigres and Exiles in by Dorothy Lamb Crawford

By Dorothy Lamb Crawford

This publication is the 1st to check the bright accumulating of composers, conductors, and different musicians who fled Nazi Germany and arrived within the la quarter. Musicologist Dorothy Lamb Crawford appears to be like heavily on the lives, inventive paintings, and effect of 16 performers, fourteen composers, and one opera degree director, who joined this great migration starting within the Thirties. a few during this team have been recognized once they fled Europe, others might achieve attractiveness within the younger musical tradition of la, and nonetheless others struggled to set up themselves in an atmosphere usually immune to musical innovation. Emphasizing person voices, Crawford offers brief images of Igor Stravinsky, Arnold Schoenberg, and the opposite musicians whereas additionally contemplating their impression as a group—in the movie undefined, in tune associations in and round la, and as academics who knowledgeable the subsequent new release. The ebook unearths a uniquely vivid period while Southern California turned 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

Sample text

After Hitler’s assumption of power, Eisler’s music was forbidden in Germany, where it was life-threatening to own an Eisler recording or to sing his songs. Performances of his theater collaborations with Brecht were shut down. His Berlin apartment was searched by the Gestapo. 50 Earnings from film work became essential to his survival. His politically engaged documentaries brought him the approval of Soviet officials, and in 1935 he was made president of the Moscow-based International Music Bureau, an organization he had helped to establish.

Isabel Morse Jones, a former violin teacher, was a strong proponent on the Los Angeles Times staff for “an intellectual awakening in music” on the West Coast. She crusaded heroically, often fruitlessly and almost desperately, for greater financial support for music in what was then a philanthropically slothful environment. ”14 Ironically, a factor in this exodus of young talent was the stifling effect PARADISE? 30 the great number of women’s social clubs were having upon striving local performers.

The harsh economic realities of the Depression and insufficient potential for sustaining work in the East forced the composers to move west, where they hoped to find lucrative opportunities composing for Hollywood films. Klemperer’s appointment at the Los Angeles Philharmonic in 1933 proved magnetic to both performers and composers who had known and worked with him in Europe. The climate, so attractive to Baum, also appealed to others. Schoenberg and Stravinsky, sixty and fifty-eight when they settled in California in 1934 and 1940, faced serious health concerns and needed the warmth of the Southwest.

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