In a previous life, somewhere around 1977, I was brought to Decca, where for the next two years or so, I was the assistant producer on a number of opera recordings. The first… Continue reading
Mark Ludwigs astounding restitution of Terezín’s musical legacy
The correspondence of one of the most inspiring performers of her day – the muse of many composers and a talent most likely smashed on the rocks of history.
A fascinating examination of “the Modern” in music in 1901 by Julius Korngold, one of the foremost writers and critics in Vienna at the turn of the century.
Banned first by Hitler, then later by the Sudeten German Music Institute – Hans Winterberg, Theresienstadt survivor and the missing link in Czech music
Despite Covid, the work of the Exilarte Centre carries on – a report on what’s been happening over the past year
This follows parts 1 and 2 in dealing with the crisis of Jewish identity by exile composers. In part 3, we take a case study of two composers as they set “The Song of Solomon”, known by one composer as “Song of Songs” and by the other as “Das Hohelied”.
In an article in the Los Angeles Times from October 2 1938,Rabbi Jacob Sonderling describes his meeting with Ernst Toch, Boris Morros, the actor Leopold Jessner and the story behind Toch’s setting of the Haggadah in his Cantata of the Bitter Herbs op. 65. Before this, however, Sonderling relates his desire to renew the music of the liturgy in a story that resonates with the idea of the prodigal son:
How and in what manner did secular composers thrown out of Europe after 1933 for being Jewish express Jewish identity in music?
The composer, former music critic and teacher, Walter Arlen is 100 years old and like any centenarian, he has many stories to tell. Unlike many centenarians, he has lived through more than a… Continue reading