The Intrators had been forced to flee once before: the anti-Jewish climate in their native country, Poland, had caused Rachel (Rosa) and Jakob in 1905 to make Berlin their home. Their son Alexander, born the same year, later became a successful concert violinist. Gerhard, five years his junior, went to law school, but the Nazis had hardly been brought to power when they began to systematically push Jews out of the legal professions. In light of the hopelessness of pursuing a juridical career in Germany, the 27-year-old emigrated to the US in 1937. Now he was making massive efforts to bring his parents. On November 19th, his father reported on the arrival of the affidavit which was needed for immigration. However, he added, they did not expect to receive their visas any time soon. Meanwhile, their circle of relatives and friends was getting smaller and smaller. Some were being forced by the Nazis to return to Poland, others simply disappeared.
Mr. Wachsmann, an industrialist in Königshütte, Upper Silesia, tried to talk his gifted son, Franz, out of embarking on an unprofitable career as a musician. He imagined a more solid career for the youngest of his seven children. But Franz would not be dissuaded. While briefly working as a bank teller, he used his salary to pay for his real interests: piano; music theory; and composition lessons. After two years in this disagreeable position, he went to Dresden, later to Berlin to study music. Recognizing the young man’s talent, the composer Friedrich Hollaender asked him to orchestrate his score for the legendary 1930 movie, “The Blue Angel” with Marlene Dietrich. When in 1934, Franz was beaten up by Nazi hoodlums, he needed no further persuasion to leave the country and boarded a train to Paris the same evening. In 1935, he moved on to the United States, where, under the name “Waxman,” he quickly became a sought-after composer of film music. On November 3, 1938, Richard Wallace’s movie “The Young in Heart” was launched, with a soundtrack by Franz Waxman.
An astonishing number of German physicians apparently not only had no qualms about being co-opted by the Nazi regime but actively subscribed to its racist and eugenic doctrines, conveniently ignoring their ostensible commitment to the Hippocratic Oath with its stipulation to do no harm. On top of propagating an ideology which declared Jews to be a danger to the “German race,” medical organizations in Germany expelled Jews, making it harder and harder for them to make a living. Under such circumstances, it’s not surprising that Dr. Max Schönenberg, a physician in Cologne, and his musician wife, Erna, supported their son Leopold’s emigration to Palestine in 1937, even though the boy was only 15 years old at the time. In this September 18th, 1938 letter to his son, Dr. Schönenberg touches upon various weighty topics, among them the regime’s recent decision to revoke Jewish doctors’ medical licenses and his uncertainty about his professional future (some Jewish physicians were given permission to treat Jewish patients).
Arnold Schoenberg was a pioneer of modern compositional techniques. However, his music also polarized listeners. Some freneticially celebrated it, other rejected it as noise. On September 13th, the Vienna native celebrated his 62nd birthday. At this time the musician had been living in the United States for almost five years. Schoenberg, a son of Jewish parents, lost his position at the Prussian Academy of Art soon after the Nazis took power. Thereafter he fled first to Paris, then emigrated to the United States. In Los Angeles, he was able to resume his teaching at the University of California.
At a time when more and more German Jews became anxious to leave the country, this letter from a German-Jewish emigrant in Shanghai, addressed to the “gentlemen of the Hilfsverein [Aid Society of Jews in Germany]” and published in the “Jüdisches Gemeindeblatt für Berlin,” must have infused prospective emigrants with new hope: the writer exuberantly thanks the Hilfsverein for counseling him and gushes over the multitude of professional options available to immigrants at his new location, “provided, of course, that you have a skill and are able to work intensely.” According to him, musicians, physicians, and merchants are greatly in demand, and the situation is especially promising for secretaries and shorthand typists – on condition that they have perfect command of the English language, which could by no means be taken for granted among German Jews. The newcomers were not the only Jews in the country; a Sephardic community had been present in Shanghai since the middle of the 19th century, and settlement by Ashkenazi Jews had begun in the early 20th century and intensified in the wake of the Russian Revolution.
After stints with various orchestras in Germany and Austria, in 1930, the conductor Erich Erck returned to Munich, where he had studied music. The Nazis forced him to relinquish his stage name and return to his family name, Eisner. His application for membership in the Reichsmusikkammer was rejected, since his Jewishness was seen as more damning than his combat service for Germany in WWI was redeeming. After he was banned from employment in 1935, he initiated the establishment of the Munich branch of the Jüdischer Kulturbund and became the executive director of its Bavarian State Association. He also took over the Orchestra of the Kulturbund (founded in 1926 as the “Jewish Chamber Orchestra”), in which capacity he appears on this photograph from the ensemble’s May 18, 1938 performance at Munich’s monumental Main Synagogue on Herzog-Max-Straße.
On May 14, 1938, American moviegoers lined up to see Errol Flynn in his latest swashbuckling adventure produced by Warner Brothers. Flynn’s turn as Robin Hood was especially thrilling thanks to the lush film score by an Austrian Jew whose music was no longer welcome at home. Although a citizen and resident of Austria, composer and conductor Erich Wolfgang Korngold felt the effects of Nazi cultural policy soon after 1933, since he had often worked in Germany. In this climate, he did not have to think twice about Max Reinhardt’s invitation in 1934 to compose the score for his Hollywood production of “A Midsummer Night’s Dream.” Korngold’s symphonic film scores broke new ground and established the typical “Hollywood sound.” In 1937, while on an extensive visit to Vienna to complete the orchestration of his opera “Die Kathrin,” he received an invitation from Warner Brothers to compose the score for “The Adventures of Robin Hood.” This assignment spared him the turmoil of the Anschluss. He returned to the US well before March 12, 1938. This photograph shows what appears to be a recording session for the Robin Hood score. The actor in the photograph is Basil Rathbone, who played Robin Hood’s nemesis, Sir Guy of Gisbourne. Korngold won an Academy Award for his compelling score—his second after “Anthony Adverse” (1937).
The April 6 event at the Jüdischer Kulturbund (Jewish Cultural Association) in Hamburg was dedicated to dance. Elsa Caro, also known by her stage name, Juana Manorska, used challenging music not originally intended for dance as the inspiration for her performance. Since the beginning of the 20th century, the fixed, formulaic repertoire of movements in classical ballet seemed limiting and outdated to some. German dancers, among them Elsa Caro and the “half-Jewish” Gret Palucca, were at the forefront of those experimenting with new forms, a movement that gave birth to Ausdruckstanz, also known as “Expressionist Dance” or “modern dance.”
The Austrian-born theater and film director Max Reinhardt emigrated to the US in October 1937, accompanied by his wife Helene Thimig, an actress. By introducing technical innovations and elevating the position of the director, Reinhardt played a pivotal role in the development of modern theater. With his production of H. von Hoffmannsthal’s “Jedermann” in 1920, he became one of the co-founders of the Salzburg Festival. Shortly after he settled down in the US, plans emerged to found “another Salzburg” festival in California. This time, he wrote his friend Arturo Toscanini, he would be working “under more favorable climatic and political conditions, and perhaps with greater financial means.” Among his achievements in the US were staging Werfel’s “The Eternal Road” (1937) and founding the Max Reinhardt Workshop for Stage, Screen and Radio, a theater and film academy in Hollywood (1937–1939). He did not think very highly of US audiences.
Unwelcome in Nazi Germany as a Jew, a socialist, and a composer of music considered “degenerate” by the regime, Kurt Weill was able to celebrate his 38th birthday on March 2 in safety. After attacks in the Nazi press and targeted protests, Weill had already emigrated to France in 1933. Rehearsals for the premiere of his opera “The Eternal Road” (libretto: Franz Werfel) provided him with an opportunity to travel to the United States in 1935. Due to numerous technical difficulties, the premiere was postponed until 1937. Weill seized the opportunity and remained in America.
In light of the looming danger, a young jazz musician from Breslau, Werner Dambitsch, considered various options for emigration. Like many others, he viewed Cuba, a destination for which it was significantly easier to obtain a visa, as a “waiting room” on the way to the final destination for many, the United States. While his application for immigration to Cuba was being processed, Dambitsch, to be on the safe side, seems to also have applied for a visa at the Colombian Embassy in Berlin. The document presented here is a doctor’s notice written by the doctor of the Colombian Embassy and attesting the perfect health of the prospective emigrant, one of the indispensable preconditions for receiving a visa.
Born in Buttenhausen, Wuerttemberg on January 25, 1890, Karl Adler studied music at the Stuttgart Conservatory, where he became Director in 1921. He was a cofounder of the Verein zur Förderung der Volksbildung, an adult-education organization, and director of its music department. In 1926, he was among the leading forces that built the Jüdisches Lehrhaus Stuttgart. After his dismissal from his position at the conservatory in 1933, he initiated and directed the Stuttgarter Jüdische Kunstgemeinschaft, a branch of the Kulturbund. In 1935, he became the head of the music department of the Mittelstelle für jüdische Erwachsenenbildung, a division of the Reichsvertretung der Juden in Deutschland dealing with adult education.
With Adolphe Adam’s comic opera “If I were King” and Ladislaus Bus-Fekete’s “Cape of Good Hope,” the Berlin Kulturbund offered its guests lighthearted distractions. The Jewish audience in Berlin in 1938 must have been receptive to an opera in which the powerless but honest hero wins and the bad guy gets his well-deserved punishment.
As German Jews were getting arrested or being forced to leave the country, the performances put on by the local branches of the Jewish Kulturbund (Culture Association) were among the few places of refuge where Jews could enjoy culture as in earlier days. Among other things, in the winter season of 1937/1938 the Jüdischer Kulturbund Berlin performed Tchaikovsky’s Eugene Onegin (Director: Dr. Kurt Singer) and Scribe’s The Ladies’ Battle (Director: Fritz Wisten). Since 1935, the Kulturbund’s venue had been the theater at 57 Kommandantenstrasse, the former Herrnfeld Theater, where popular Jewish plays had once been staged.
In his opening speech at the inauguration ceremony for the new Jewish community center in Hamburg, Max M. Warburg, scion of a renowned family of bankers, describes the challenges the community is facing at the present moment and states the mission of the building and its leadership in troubled times. Describing theater as a source not only of “uplift and joy” but also of “moral fortitude,” Warburg declares the community center to be intended first and foremost as a home for the performances of actors and musicians of the Jewish Kulturbund.
Werner Wilhelm Dambitsch was born on June 23, 1913 in Breslau (today Wroclaw, Poland). Werner was interested in music from an early age, but he had to purchase his first instrument, a saxophone, with money he had earned himself. He did this in 1932 at the age of 19 and founded with four friends the ‘Excentric [sic] Jazz Orchester’. In order to perform, the combo had to join the “Reichsverband der jüdischen Kulturbünde in Deutschland” (Reich Association of Jewish Cultural Federations) and was forced to change the name to “Erstes Jüdisches Jazz-Orchester” (First Jewish Jazz Orchestra). While the association did not guarantee steady income or employment, at least it allowed the artists to perform at events attended by Jewish audiences. This image shows Werner Dambitsch’s Kulturbund membership card.
After the passing of the Nuremberg Laws in 1935, Jews were excluded from the support of the “Winter Relief Agency of the German People” and had to organize their own relief agency. Nazi legislation was making it more and more difficult for Jews in Germany to earn a living. The Jewish Winter Relief Organization stepped into the breach and assisted impoverished members of the community with food, medicine, and heating fuel. The photo was taken at a concert for the benefit of the Jewish Winter Relief.