“In our global society, culture is no longer the sole property of a single nation. It is the property of all with the interest and ambition to ask awkward questions and make new discoveries about themselves and the musical environment they inhabit. In a digital world, the need for digital preservation of musical émigré estates is self-evident. Just as important is the editorial input that addresses the issues that make contemporary performances challenging. If the purpose of this book was to demonstrate that the Jewish contribution to German music was not delusional, this epilogue attests to the urgency needed to preserve the widely strewn documentation, and restore the music itself, on which much of this book was based.”

-from Forbidden Music