PARTITIONS GRATUITES :
- Emigrating

SKU: HL.49019860

ISBN 9783795708023. German.

'Weimar am Pazifik' wurde die Anhaufung beruhmter Personlichkeiten des deutschsprachigen Geisteslebens in Los Angeles genannt. Kunstler, die aufgrund ihres Werkes oder ihrer ethnischen Herkunft von den Nationalsozialisten vertrieben wurden, liessen sich hier nieder und bauten sich fernab der Heimat eine neue Existenz auf. Der in Wien geborene Komponist Ernst Toch (1887 - 1964) war einer von ihnen. Das Schicksal der Emigration traf ihn auf dem Hohepunkt seiner Karriere: Wurde er in den Zwanziger- und beginnenden Dreissiger Jahren des 20. Jahrhunderts noch in einem Atemzug mit Paul Hindemith oder Kurt Weill genannt, musste er im Exil als Unbekannter noch einmal von vorne anfangen. In diesem Buch wird auf der Basis bislang weitgehend unveroffentlichter Quellen nicht nur der Weg des Komponisten in die Emigration, sondern auch seine Assimilation und Akkulturation an das Leben in Kalifornien nachgezeichnet.

SKU: CA.923800

ISBN 9790007241773. Language: English. Text: Campbell, Joseph.

Joseph Campbell's poem The Emigrant presents us with the inside view of an emigrant who is going to leave his native land in a few hours and before this, has a farewell party with relatives and neighbors. The alternating feelings and suppressed sadness are reflected in Buchenberg's composition which skilfully oscillates between over-exaggerated boisterousness and despair.

SKU: HH.HH585-FSP

ISBN 9790708213000.

Stan ley Sadie’s opinion, expressed in 1963, that the two of the twelve trio sonatas by Frederick Ernest Fisher(1711/12–176 0), divided equally between Op. 1 (c.1751) and Op. 2 (c.1761), were ‘among the finest of their time’ while some of the others were ‘remarkably inventive and original’ almost sells this composer short. Every single one of these works, scored for two violins, cello and harpsichord, is masterly and deserves a permanent place in the repertoire. Born in or near Kassel, Fisher spent several years in Holland, teaching music from 1741 to 1745 at the university of Leiden, before emigrating to England. After spending about two years in London he settled permanently in Cambridge, where he taught music to members of the local music society. His Op. 1 set, dedicated to the same society, epitomizes the ‘social’ character of the trio sonata genre, where individual virtuosity yields its place to amicable interaction between the players. Fisher was a cellist as well as a violinist, and this background is brought out by the rare eloquence of his bass lines. The diversity of movement types in these ordinarily three-movement sonatas is very attractive. They include powerful fugues, expansive movements in sonata form, languorous middle movements reminiscent of those in operatic overtures and a selection of dance movements, all of which mix baroque, galant and classical elements in a convincing synthesis.

SKU: HH.HH584-FSP

ISBN 9790708185994.

Stan ley Sadie’s opinion, expressed in 1963, that the two of the twelve trio sonatas by Frederick Ernest Fisher(1711/12–176 0), divided equally between Op. 1 (c.1751) and Op. 2 (c.1761), were ‘among the finest of their time’ while some of the others were ‘remarkably inventive and original’ almost sells this composer short. Every single one of these works, scored for two violins, cello and harpsichord, is masterly and deserves a permanent place in the repertoire. Born in or near Kassel, Fisher spent several years in Holland, teaching music from 1741 to 1745 at the university of Leiden, before emigrating to England. After spending about two years in London he settled permanently in Cambridge, where he taught music to members of the local music society. His Op. 1 set, dedicated to the same society, epitomizes the ‘social’ character of the trio sonata genre, where individual virtuosity yields its place to amicable interaction between the players. Fisher was a cellist as well as a violinist, and this background is brought out by the rare eloquence of his bass lines. The diversity of movement types in these ordinarily three-movement sonatas is very attractive. They include powerful fugues, expansive movements in sonata form, languorous middle movements reminiscent of those in operatic overtures and a selection of dance movements, all of which mix baroque, galant and classical elements in a convincing synthesis.

SKU: HL.333271

SKU: PR.11642143L

UPC: 680160693320. 11 x 17 inches.

For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craft Berko’s Journey, I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1, Leaving Ekaterinoslav, we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2, In Transit, we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3, At Home in Omaha, we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.
For most of my life, I never knew where my father’s family came from, beyond a few broad strokes: they had emigrated in the early 1900s from Eastern Europe and altered the family name along the way. This radically changed in the summer of 2021 when my mother and sister came across a folder in our family filing cabinet and made an astounding discovery of documents that revealed when, where, and how my great-grandfather came to America. The information I had been seeking was at home all along, waiting over forty years to be discovered.Berko Gorobzoff, my great-grandfather, left Ekaterinoslav in 1904. At that time, this city was in the southern Russian area of modern-day Ukraine; as his family was Jewish, he and his siblings were attempting to escape the ongoing religious persecution and pogroms instigated by Tzar Nicholas II to root out Jewish people from Russia. Berko’s older brother Jakob had already emigrated to Illinois, and Berko was traveling with Chaje, Jakob’s wife, to join him. Their timing was fortuitous, as the following year saw a series of massive, brutal pogroms in the region. After arriving in Illinois, Berko went on to Omaha, Nebraska, where he married my great-grandmother Anna about eighteen months later. They remained in Omaha for the rest of their lives.There is one more intriguing part to this historical account: I have a great-aunt in Texas who, as it turns out, is the youngest daughter of Berko and Anna. Through a series of phone calls, my great-aunt and I discussed what she could remember: her parents spoke Yiddish at home, her mother didn’t learn to read or write in English so my great-aunt was tasked with writing letters to family members, Berko ran a grocery store followed by a small hotel, and her parents enjoyed playing poker with friends. Above all else, neither of her parents ever spoke a word about their past or how they got to America. This was a common trait among Eastern European Jewish immigrants whose goal was to “blend in” within their new communities and country.To craftxa0Berko’s Journey,xa0I melded the facts I uncovered about Berko with my own research into methods of transportation in the early 1900s. Also, to represent his heritage, I wove two Yiddish songs and one Klezmer tune into the work. In movement 1,xa0Leaving Ekaterinoslav,xa0we hear Berko packing his belongings, saying his goodbyes to family and friends, and walking to the train station. Included in this movement is a snippet of the Yiddish song “The Miller’s Tears” which references how the Jews were driven out of their villages by the Russian army. In movement 2,xa0In Transit,xa0we follow Berko as he boards a train and then a steamship, sails across the Atlantic Ocean, arrives at Ellis Island and anxiously waits in line for immigration, jubilantly steps foot into New York City, and finally boards a train that will take him to Chicago. While he’s on the steamship, we hear a group of fellow steerage musicians play a klezmer tune (“Freylachs in d minor”). In movement 3,xa0At Home in Omaha,xa0we hear Berko court and marry Anna. Their courtship is represented by “Tumbalalaika,” a Yiddish puzzle folksong in which a man asks a woman a series of riddles in order to get better acquainted with each other and to test her intellect.On a final note, I crafted a musical motive to represent Berko throughout the piece. This motive is heard at the beginning of the first movement; its first pitches are B and E, which represent the first two letters of Berko’s name. I scatter this theme throughout the piece as Berko travels towards a new world and life. As the piece concludes, we hear Berko’s theme repeatedly and in close succession, representing the descendants of the Garrop line that came from Berko and Anna.