This drawing shows the interior of the Prinzregentenstraße Synagogue in Berlin (Wilmersdorf). Built in 1930, the building was designed to fulfill the needs of a liberal congregation. As shown in the picture, the synagogue boasted a magnificent organ. Rabbi Leo Baeck gave the sermon at the opening ceremony. From 1933, when Jews began to be pushed out of Germany’s cultural life, the synagogue also became a Jewish cultural center.
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.
The January issue of the Berlin Kulturbund magazine conveys a sense of normalcy—local businesses advertise merchandise and services like cosmetics, women’s apparel and car repairs, while the Kulturbund schedule offers Eugene Scribe’s “The Ladies’ Battle.” The comedy must have provided a welcome respite from the worrisome situation.
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.