By Dorothy Lamb Crawford
This e-book is the 1st to envision the bright collecting of composers, conductors, and different musicians who fled Nazi Germany and arrived within the la sector. 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 large migration starting within the Nineteen Thirties. a few during this staff have been recognized after they fled Europe, others may achieve popularity within the younger musical tradition of la, and nonetheless others struggled to set up themselves in an atmosphere frequently immune to 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 song associations in and round la, and as lecturers who expert the following iteration. The booklet finds a uniquely shiny period whilst Southern California grew to become a hub of unheard of musical expertise.
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Extra resources for A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California
European modern dance artists such as Mary Wigman and Harald Kreutzberg visited to perform in 1933 and 1934. At the time, however, music for dance PARADISE? 27 offered no income for the newly arriving musical émigrés, who needed to establish themselves in more lucrative fields. By 1933, when modern music’s most outstanding European proponent, Klemperer, arrived, modern music was failing in Los Angeles. That year, young Canadian-born Peter Yates, a recent Princeton graduate who had settled in the area in 1931 hoping to stimulate interest in modernism, found the concertgoing public “open-mouthed for knowledge, breathing discussion, but unwilling to sacrifice one jot or tittle of their convictions or prejudice.
The International Style houses that both architects designed in Los Angeles and Newport Beach in the 1920s made modernism visible to all. In the 1930s American modern dance was in its vibrant but relatively obscure youth in Southern California. Lester Horton’s work with Native American dance, Martha Graham’s new abstractions, the voluptuous costume experiments of Ruth St. Denis, and the pioneering all-male ensemble of Ted Shawn all created opportunities for young American dancers. European modern dance artists such as Mary Wigman and Harald Kreutzberg visited to perform in 1933 and 1934.
In turn, the émigré musicians were changed by this experience: Los Angeles became a place where Hugo Strelitzer could dream of, plan, and execute a new American approach to opera training; it was a place where Otto Klemperer, always the frustrated composer, could study composition with Schoenberg; where Schoenberg would return periodically to tonality in his desire to have his music more widely appreciated; where Stravinsky would transcend his antipathy toward Sergey Rachmaninoff and become so influenced by Schoenberg that Ingolf Dahl would find the Stravinskys’ living room filled with the sounds of Schoenberg’s Verklärte Nacht.
A Windfall of Musicians: Hitler's Emigres and Exiles in Southern California by Dorothy Lamb Crawford