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Music Kept Them Going

An interesting Jewish Standard article about an orchestra of survivors: http://jewishstandard.timesofisrael.com/music-kept-them-going/

From the article:

Vivian Reisman can picture the emotional Friday night get-togethers at her early childhood home in Weehawken as if they were yesterday.

"They always started out so cheerful, with all the music and the singing and eating everything my mother cooked. Everyone brought instruments. It was an impromptu concert," said the Englewood Cliffs resident.

But as the evening wore on, and they sat around the dining room table reflecting on all they had endured, Reisman, the oldest of Henny and Simon Gurko’s three children, said, "they always ended with the same horrible sobbing."

Lerner’s mother, the youngest of the three siblings and in training to be an opera singer before the war, was fluent in eight languages. Years later, after raising her children, Gurko completed the education that was interrupted, earning degrees from the Jewish Theological Seminary and Columbia University. She eventually went to work as a Hebrew school teacher.

[Rita] Lerner recalled that her mother filled their home with music. "She was never negative or bitter, even though life was hard for them here at first, not knowing the language and without any help. Anything she could possibly sing, in any language, she sang for us."

Read the article here: http://jewishstandard.timesofisrael.com/music-kept-them-going/

Walking the Way of the Survivor

Really enjoyed this interview in the NY Times Book Review that I found in my archives, from 1988! WALKING THE WAY OF THE SURVIVOR: A Talk With Aharon Appelfeld, by Philip Roth.

Read the full article here: http://www.nytimes.com/1988/02/28/books/walking-the-way-of-the-survivor-a-talk-with-aharon-appelfeld.html?pagewanted=all

From the article, I've selected the parts that stood out to me. My own notes are in italics:

The arduous journey that landed Appelfeld on the beaches of Tel Aviv in 1946, at the age of 14, seems to have fostered an unappeasable fascination with all uprooted souls. . . Appelfeld is a displaced writer of displaced fiction, who has made of displacement and disorientation a subject uniquely his own sensibility. . . .As unique as the subject is a voice that originates in a wounded consciousness pitched somewhere between amnesia and memory, and that situates the fiction it narrates midway between parable and history.

Appelfeld: I discovered Kafka here in Israel. He spoke to me in my mother tongue, German, not the German of the Germans but the German of the Hapsburg Empire, of Vienna, Prague, and Chernovtsky, with its special tone, which, by the way, the Jews worked hard to create.

. . .Behind the mask of placelessness and homelessness in his work, stood a Jewish man, like me, from a half-assimilated family, whose Jewish values had lost their content, and whose inner space was barren and haunted. The marvelous thing is that the barrenness brought him not to self-denial or self-hatred but rather to a kind of tense curiosity about every Jewish phenomenon, especially the Jews of Eastern Europe, the Yiddish language, the Yiddish theater, Hasidism, Zionism and even the idea of moving to Mandate Palestine. This is the Kafka of his journals, which are no less gripping than his works.

My real world was far beyond the power of imagination, and my task as an artist was not to develop my imagination but to restrain it, and even then it seemed impossible to me, because everything was so unbelievable that one seemed oneself to be fictional.

At first I tried to run away from myself and from my memories, to live a life that was not my own and to write about a life that was not my own. But a hidden feeling told me that I was not allowed to flee from myself, and that if I denied the experience of my childhood in the Holocaust, I would be spiritually deformed.

It is generally agreed, to this day, that Jews are deft, cunning and sophisticated creatures, with the wisdom of the world stored up in them.  But isn’t it fascinating to see how easy it was to fool the Jews?. . . Their blindness and deafness, their obsessive preoccupation with themselves is an integral part of their ingenuousness. The murderers were practical, and they knew just what they wanted. The ingenuous person is always a shlimazl, a clownish victim of misfortune, never hearing the danger signals in time, getting mixed up, tangled up and finally falling in the trap. Those weaknesses charmed me. I fell in love with them. The myth that Jews run the world with their machinations turned out to be somewhat exaggerated.

Assimilated Jews built a structure of humanistic values and looked out on the world from it. They were certain they were no longer Jews, and that what applied to “the Jews” did not apply to them. That strange assurance made them into blind or half-blind creatures. I have always loved assimilated Jews, because that was where the Jewish character, and also, perhaps, Jewish fate, was concentrated with greatest force. (note: This is what is so fascinating to me about the Mendelssohns, Fanny van Arnstein, Heinrich Heine, and Rahel Varnhagen, among the many other converts I have studied)

The need, you might say the necessity to be faithful to myself and to my childhood memories made me a distant, contemplative person.

The non-Jew was frequently viewed in the Jewish imagination as a liberated creature without ancient beliefs or social obligations who lived a natural life on his own soil. The Holocaust, of course, altered somewhat the course of the Jewish imagination. In place of envy came suspicion. Those feelings which had walked in the open descended to the underground.

What has preoccupied me, and continues to perturb me, is this anti-Semitism directed at oneself, an ancient Jewish ailment, which, in modern times, has taken various guises. I grew up in an assimilated Jewish home where German was considered not only a language but also a culture, and the attitude toward German culture was virtually religious. All around us lived masses of Jews who spoke Yiddish, but in our house Yiddish was absolutely forbidden. I grew up with the feeling that anything Jewish was blemished. From my earliest childhood my gaze was directed at the beauty of the non-Jews. They were blond and tall and behaved naturally. They were cultured, and when they didn’t behave in a cultured fashion, at least they behaved naturally.

From my earliest youth I was drawn to non-Jews. They fascinated me with their strangeness, their height, their aloofness. Yet the Jews seemed strange to me too. It took years to understand how much my parents had internalized all the evil they attributed to the Jew, and through them, I did so too. A hard kernel of revulsion was planted within each of us.

Fortunately for me I was blond and didn’t arouse suspicion. (note: This applied to my godmother's brother as well, but did not save him...)

It took me years to draw close to the Jew within me. I had to get rid of many prejudices within me and to meet many Jew in order to find myself within them. Anti-Semitism directed at oneself was an original Jewish creation. I don’t know of any other nation so flooded with self-criticism…The Jewish ability to internalize any critical and condemnatory remark and castigate themselves is one of the marvels of human nature. . . . Only one thing may be said in its favor: it harms no one except those afflicted with it.

The Holocaust belongs to the type of enormous experience which reduces one to silence. Any utterance, any statement, any “answer” is tiny, meaningless and occasionally ridiculous. Even the greatest of answers seems petty.

The survivors have undergone experiences that no one else has undergone, and others expect some message from them, some key to understanding the human world – a human example. But they, of course, cannot begin to fulfill the great tasks imposed upon them, so theirs are clandestine lives of flight and hiding.

Jewishness in Steve Reich's music

I wanted to share this article about a lecture I attended given by Steve Reich and his collaborator and wife Beryl Korot, on the Jewish influences in their work. The program was called “A Theater of Ideas: Exploring the Life and Legacy of Abraham through Video, Music, and the Spoken Word” Reich had not really worked with video until he met Ms. Korot, a pioneer in the field of video art. Their presentation described their joint work on a documentary video opera they made, "The Cave."

From the article:

For “The Cave,” Reich interviewed Christians, Jews, and Arabs about Machpelah. As he was recording those interviews, he wrote down melodies.

. . . While Mr. Reich’s Jewish identity was not yet fully awakened when he composed his earlier works, today he is a shomer Shabbat Jew. His piece “Tehillim,” created in 1981, “is arguably the first one in which he draws extensively from his Jewish background.” A later piece, “Daniel,” composed in memory of the murdered Wall Street Journal reporter Daniel Pearl, was based on verses from the Book of Daniel.

“His [Jewish] literacy enables him to do so much more to instill his Jewish values into his music,” Mr. Marans said. “He is the first person to have gotten to this point – a proud, learned religious Jew who is using that to create his music.”

From the article, an interesting comparison between Reich and Schoenberg:

Pointing to the composer’s many accomplishments, Mr. Marans noted that Mr. Reich was a pioneer of minimalism, which started in the 1960s and ’70s. Breaking with the tradition embodied by such composers as Bach, Mozart, and Beethoven – who based their music on the idea of a melody, and people harmonizing with that melody – Mr. Reich chose a different path, following in the footsteps of Austrian composer Arnold Schoenberg.

Contemporary classical music does not necessarily provide “an easy listening experience,” Mr. Marans said, adding that while the old forms are still available, “if you’re doing that, you’re not as original as you can be. People are constantly adapting and changing things.”

For example, after learning music theory and harmony, “Schoenberg began to radicalize his understanding,” creating serialism, or patterns of melodies and rhythms in a self-contained series, Mr. Marans said. Toying with Schoenberg’s idea, Mr. Reich, who studied philosophy as an undergraduate and eventually moved on to study composition at Mills College, “also started to rethink how we envision composition.”

And on the Jewishness of Steve Reich's music: 

“Conceptually, Jewish music revolves around the idea that the artist is putting his Jewish self into his music,” Mr. Marans said. “Different Trains,” for example, incorporates Holocaust music. But it is not sad; instead, it tells a story, juxtaposing the composer’s own experience traveling on trains when he was young with the use of trains during the Holocaust.

Max Weinberg on "tikkun olam"

Bruce Springsteen's drummer, Max Weinberg, is from New Jersey! I love what he says in this article about using music to fulfill a calling: “Whenever I’m asked, and when I’m around, I’m happy to do it,” Weinberg said. “I can’t point to one specific moment in time when I said, ‘I’m gonna do this’ or ‘I’m gonna do that,’ but in our religion there’s the concept of "tikkun olam” — Hebrew for “repairing the world” — “which I embrace seriously and took to mean any way you can do it. My way of doing that was through music, and specifically drumming."

...

“I embraced my religious training in a humanist way,” he said. “I try to be nice to people, I live by the golden rule, I try to bring joy through music to whatever audience I find myself in front of. In Hebrew school I took the idea of tzedaka (charity) and tikkun olam very seriously.”

Read the whole article here: http://jewishstandard.timesofisrael.com/jersey-boy/

Learning from the past

An article about the film, "Defying the Nazis," that I blogged about this past Wednesday, appeared in the New York Times two days ago: http://www.nytimes.com/2016/09/18/opinion/sunday/would-you-hide-a-jew-from-the-nazis.html

The article makes explicit the parallels between today's refugee crisis and the crisis of the 1930s, when many people including my godmother, father, and family members were trying to get visas to get out of Germany and needed sponsors to lend a helping hand on the other side of the sea. My father was able to migrate to the United States with the help of an organization here; my godmother's brother was not so lucky. This life-or-death situation is the reality of countless refugees today.

From the article:

“There are parallels,” notes Artemis Joukowsky, a grandson of the Sharps who conceived of the film and worked on it with Burns. “The vitriol in public speech, the xenophobia, the accusing of Muslims of all of our problems — these are similar to the anti-Semitism of the 1930s and ’40s.”

The Sharps’ story is a reminder that in the last great refugee crisis, in the 1930s and ’40s, the United States denied visas to most Jews. We feared the economic burden and worried that their ranks might include spies. It was the Nazis who committed genocide, but the U.S. and other countries also bear moral responsibility for refusing to help desperate people.

That’s a thought world leaders should reflect on as they gather in New York to discuss today’s refugee crisis — and they might find inspiration from those like the Sharps who saw the humanity in refugees and are today honored because of it.