Artists in exile.pdf

ARTISTS IN EXILE

HOW REFUGEES FROM TWENTIETH-CENTURY

WAR AND REVOLUTION TRANSFORMED

THE AMERICAN PERFORMING ARTS

JOSEPH HOROWITZ

What today is the meaning of foreign, the meaning

of homeland? ...When the homeland becomes

foreign, the foreign becomes the homeland.

—Thomas Mann, 1941

Santa Monica, California

CONTENTS

Epigraph iii

Preface

INTRODUCTION:

CULTURAL EXCHANGE

Dvoˇák and the New World—The intellectual migration—

The American performing arts in 1900

1. HOW TO BECOME AN AMERICAN:

A FORTUITOUS PARTNERSHIP OF

DANCE AND MUSIC 2

St. Petersburg and Sergey Diaghilev educate Georgi

Balanchivadze—Balanchine invents an American ballet—

Igor Stravinsky eyes America—The Balanchine /Stravinsky

synthesis—Returning to Russia

2. THE GERMAN COLONIZATION OF

AMERICAN CLASSICAL MUSIC 7

Rudolf Serkin, Adolf Busch, and the Berlinerisch spirit—

The German-American juggernaut—Strangers in America:

Otto Klemperer and Dimitri Mitropoulos—Composers on

the sidelines: Arnold Schoenberg, Paul Hindemith, Béla

Bartók—Erich Korngold wows Hollywood—Kurt Weill

tackles Broadway