By Dorothy Lamb Crawford
This e-book is the 1st to check the bright accumulating of composers, conductors, and different musicians who fled Nazi Germany and arrived within the l. a. zone. Musicologist Dorothy Lamb Crawford appears heavily on the lives, inventive paintings, and impact of 16 performers, fourteen composers, and one opera degree director, who joined this colossal migration starting within the Nineteen Thirties. a few during this workforce have been recognized after they fled Europe, others could 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 provides brief images of Igor Stravinsky, Arnold Schoenberg, and the opposite musicians whereas additionally contemplating their impression as a group—in the movie undefined, in track associations in and round la, and as academics who informed the following iteration. The booklet unearths a uniquely vivid period whilst Southern California turned a hub of remarkable musical expertise.
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Additional resources for A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California
Temporary visitor visas were based on the immigration quotas of their various countries of application, but these had to be extended every six months. S. citizens willing to assume responsibility for the applicant’s financial welfare. A refugee who aspired to more permanent status had to leave the United States and be readmitted through consulates in bordering countries (Mexico, Cuba, or Canada), at which point he or she could apply for citizenship, which might be granted after several years. It was clear that an offer of employment from the film studios, a performing organization, or a university was necessary.
Ernst Krenek, Arnold Schoenberg, and Igor Stravinsky went first to Boston; Emanuel Feuermann and Gregor Piatigorsky to Philadelphia. ) 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.
He would commission violin works from Alexandre Tansman, Toch, Waxman, Korngold, and Castelnuovo-Tedesco and would form ensembles with Rubinstein, Feuermann, and Piatigorsky. Peter Meremblum, Heifetz’s classmate at St. Petersburg’s Imperial Conservatory, would found the Southern California Junior Symphony, a superb training orches- PARADISE? 17 tra for legions of young Stravinsky’s law-school friend from St. Petersburg, Alexis Kall, would arrive in 1935 to establish a piano studio in West Los Angeles.