Contents

List of Figures ix
Notes on Contributors x
Introduction. Music and Exile: From 1933 to the Present Day Malcolm Miller and Jutta Raab Hansen
   1 The Musical Identity of the Austrian Exile 10 Michael Haas
   2 An Ambiguous Story – Austrian Music Exile in the Netherlands 29 Primavera Driessen Gruber
   3 Vom Kitchener Camp in australische Wüstenlager: Der Weg jüdischer Exil-Musiker über Großbritannien nach Down Under 53 Albrecht Dümling
   4 Creation of Jobs, Union Work and Cooperation: The Institutionalisation of Musical Life by the European Jewish Artist Society,
      the Shanghai Musicians Association, and the Association of Jewish Precentors in the Shanghai Exile, 1938–49 75 Sophie Fetthauer
   5 ‘A State of Crass Ideological Confusion’: Avant-Garde Music and Antisemitism in the Free German League of Culture 94 Florian Scheding
   6 ‘Almost as Impressive as Its Legacy in the Visual Arts’: Ben Uri Art Society and Music in Exile, 1931–60 113 Rachel Dickson
   7 Goldschmidt and Hamburg 134 Peter Petersen
   8 Preisgekrönt und doch kein Glück? Anmerkungen zu Berthold Goldschmidts Belcanto-Oper Beatrice Cenci 155 Barbara Busch
   9 ‘A Place of Refuge in Your Arms’: Reizenstein’s Anna Kraus as Holocaust Opera 168 Malcolm Miller
 10 Von großen Erfolgen in der Zwischenkriegszeit zu relativer Vergessenheit: Die Komponisten Bruno Granichstaedten und Robert Katscher im Exil 192 Hanja Dämon
 11 Encounters with the Émigré Experience: Discovering the Chamber Music and Songs of Peter Gellhorn 217 Norbert Meyn
 12 Visits in Four Cities: Stations in the Musical and Familial Life of the Song Composer Max Kowalski (1882–1956) 237 Nils Neubert
 13 Der österreichische Musiker Ferdinand Rauter als Musiktherapeut in Camphill bei Aberdeen in Schottland (1945 bis 1947) 259 Jutta Raab Hansen
 14 Mischa Spoliansky’s Music for the Movie Mr. Emmanuel (1944) 284 Jörg Thunecke
Index 303

Figures

  1.1 Map taken from the https://www.xn--sterreich-ungarn-lwb.de/demografie.html page which goes on to breakdown the linguistic make-up of Austria-Hungary, with German being the first language of only 23.36%, and c.45% speaking one of several Slavic languages 16
  3.1 Plakat zum Konzert des Kitchener Camp Orchestra am 2. November 1939 in der St. Clement’s Church, Sandwich 67
  3.2 Einladung zur Show ‚Hay-Fever‛ aus dem australischen Internierungslager Hay vom November 1940 69
  3.3 Handgeschriebener Programmzettel für ein Konzert mit unterhaltsamer Klassik aus Hay 71
  6.1 ‘Lectures and Recitals, Nov.–Dec. 1951’ printed leaflet, Ben Uri Art Gallery 124
  7.1 The Goldschmidts’ headstone in the Jewish cemetery in Ohlsdorf 135
  7.2 Berthold Goldschmidt’s birth certificate 136
  7.3 The house – Steinstrasse 12 – in which Berthold Goldschmidt was born 137
  7.4 Cover of the book Zündende Lieder, verbrannte Musik 142
  7.5a The title page of Goldschmidt’s Third String Quartet 146
  7.5b Transcription of the title page of Goldschmidt’s Third String Quartet (by Peter Petersen) 147
  7.6 Poster advertising the first showing of Draußen vor der Tür 150
  9.1 Newspaper photo cutting of a 1954 recital in Bath by Franz Reizenstein and Christopher Hassall, highlighting their lifelong professional relationship and friendship subsequent to Voices of Night (1951) and Anna Kraus (1952) 175
11.1 Gellhorn’s Gold Medal from the Prussian Academy of the Arts for outstanding achievements as a student 221
11.2 Portrait of the young Peter Gellhorn (year unknown) 224
11.3 Peter and Olive Gellhorn on their wedding day in 1943 229
11.4 Peter Gellhorn on a London street in 1951 230
11.5 Peter Gellhorn at St. James’s Palace, 1984 233
13.1 Engel Lund and Ferdinand Rauter 263
13.2 Rehearsal in Rauter’s home, 74 Carlton Hill, London NW8: Norbert Brainin, violin; Ferdinand Rauter, piano; photomontage on the back wall portrait of Hans (Peter) Schidlof, violist 283