Dave Brubeck with Darius Milhaud.
Dave Brubeck with Erich Kunzel and Duke Ellington, The Gates of Justice recording session, Cincinnati, Ohio.
Cover art (front) from the 1969 recording of The Gates of Justice.
Cover art (back) from the 1969 recording of The Gates of Justice.
Promotional flyer from the Westchester Opera Theatre, featuring founder and director Raymond Smolover (top, left of center). The Opera Theatre commissioned several Jewish chamber operas, and often took them on tour to other cities.
A Living Hall of Fame of Music: Leopold Auer. At the gala given at Carnegie Hall to Celebrate his Eightieth Birthday, With Some of His Most Famous Pupils and Others Who Took Part in the Program. They Are, Left to Right: Standing, Joseph Achron, Efrem Zimbalist, Ossip Gabrilowtsch, Serge Rachmoninoff, Joseph Hoffman and Paul Stassievitch. Seated, Leopold Auer and Jascha Jeifetz. August 28, 1925.
A New Beginning: Ten-year-old Samuel Adler (center) arrives in the United States on the SS Manhattan, January 22, 1939. The family fled Germany during the Nazi regime and eventually settled in Worchester, Massachusetts.
Alexander Olshanetsky. One of Second Avenue's "big four" composers, Olshanetsky also wrote a small amount of liturgical music.
From a performance of Ernst Toch's Cantata of the Bitter Herbs, Los Angeles City College. Los Angeles, California. 1941.
Playbill advertising a 1982 memorial concert for Cantor Moshe Koussevitsky at the Ocean Parkway Jewish Center.
Promotional flyer for the Opera Theatre of Westchester promoting Robert Strassburg's Chelm and Isaac Levi by Frederick Piket. Raymond Smolover, founder of the company, wrote the libretti for both chamber operas.
Composer Ernst Toch.
“The Four-year-old Wonderchild Rechtzeit”. Cover of Seymour Rechtzeit's (1912–2002) first recording, released when the famous Yiddish theater performer was just four years old.
Dave Brubeck with civil rights activist Ralph Abernathy.
Sheet music cover for Der disvasher featuring composer Herman Yablokoff in costume.
Fishel Kanapoff. Entertainer, lyricist, and songwriter popular in the American Yiddish theater in the early 20th century.
Frederick Jacobi. 1950.
Frederick Jacobi. Saxophonist in the U.S. Army Band, Alcatraz Island. Jacobi had hoped to enlist in the Medical Corps, but when the recruiting officer learned that he was a musician, the officer ordered him to play saxophone in the army band—despite Jacobi's protest that he had never played the instrument.
Newspaper advertisement, in Yiddish, featuring Freydele Oysher and Harold Sternberg, Buenos Aires, 1936.
Itzik Fefer, Albert Einstein, and Solomon Mikhoels.
Sketch from a rehearsal of Kurt Weill's The Eternal Road by Benedikt (B.F.) Doblin featuring director Max Reinhardt, playwright Franz Werfel, Weill, and actors Jacob Ben-mi and Lotte Lenya in the background.
Lotte Lenya as Miriam in The Eternal Road by Kurt Weill.
Molly Picon and Edmund Zayenda in the Yiddish film Mamele. 1938.
Max Helfman. With students at the Brandeis Camp. Santa Susanna, California.
Max Helfman. Brandeis Camp. Santa Susanna, California.
Michael Michalesko and Lucy Finkel in Di goldene kale. 1923.
Mme. Madeleine Milhaud. Wife of composer Darius Milhaud. Milken Archive oral history session. Paris, France.
From left, composers Mordecai Seter and Menahem Avidom, Yemenite dancer Margalit Oved, conductor Gari Bertini and Paul Ben-Haim on tour in the United States, 1957.
Molly Picon (far right) with Esta Salzman (center right) on stage in Jacob Kalich's Oy, iz dus a leben (Oh, What a Life!).
"Prayers My Grandfather Wrote" Six Preludes for Organ (or Piano) on themes by Bruto Senigaglia Dedication: to Avraham Soltes. my first American student. affectionately Mario Beverly Hills, Calif July 29, 1963
My maternal Grandfather, BRUTO SENIĢAĢLIA, was the man responsible for my musical career. He was the one who convinced my Mother (against my Father's wishes) to teach me Piano, when I was 9 years old. But he passed away a few months later, and he couldn't witness my progress. It was many years later, in 1925, (when also my uncles had passed away) that my Mother inherited my Grandfather's library. And there, on a shelf, hidden behind some big volumes, we found a little book where my Grandfather had written down some Hebrew prayers that he had set to music for three-part Chorus. It was a surprise to all of us: we knew that Grandfather was a music lover, but we never knew that he had written any music. To me, this discovery was one of the deepest impressions of my life, as I realized "where I came from," both artistically and spiritually. It so marked a sort of "starting point" in my production, as I wrote, in that same year the first of my "Jewihs works," The Dances of King David, based on traditional themes, which I dedicated to my Grandfather's memory. Now the little book is exactly one hundred years old: the first entry ( a simple "tone-row," marked as a "figured Bass") is dated 1862. And (a Grandfather myself . .) I have taken some of Grandfather's simple themes, developing them into a series of short Preludes, for Organ (or Piano) Mario Castelnuovo-Tedesco Beverly Hills, Calif. November 1962
"Prince of the Young Hazzanim": Playbill advertising a cantorial performance by Sholom Secunda. The composer was famous as a young cantor before becoming one of Second Avenue's "big four" composers.
Joseph Papp (left), producer of the New York Shakespeare Festival, and David Amram during King John rehearsals at the Public Theater, 1967. Longtime collaborators, Amram composed scores for 25 of the Festival's productions.
Samuel Adler. Shown here as a young child in his birthplace, Mannheim, Germany.
Album cover for the first commercially available recording of Shabbat for Today. Designed by Daniel J. Surak. While the first performance of the work in 1968 was denounced by some as sacrilegious and irreverently sensational, Shabbat for Today eventually gained acceptance and was performed more than 150 times.
Prior to his murder, Solomon Mikhoels (Vovsi) was, in many respects, the de facto spokesman of Soviet Jewry during Stalin's reign.
Actor, director, and chairman of the Jewish Anti-Fascist Committee, Solomon Mikhoels is the subject of Bruce Adolphe's opera Mikhoels the Wise.
Illustration of the golem by Philippe Semeria. The Hebrew letters, aleph, mem, thet, spell the word emet (truth). Removal of the aleph, which renders the word met (death), is one means of disabling the golem.
Corporal Samuel Adler conducts the Seventh Army Symphony Orchestra. Kassel, Germany. 1952.
A copy of Lazare Saminsky's The Vision of Ariel with a dedication to composer Virgil Thomson, signed 1957.
Seymour Rechtzeit and Mirriam Kressyn (front, center) with the board of the Yiddish Actor's Union. Date unknown.
Vivian Fine at the age of 19.
Vivian Fine ca. 1958.
Sheet music cover for Vos geven iz geven un nito featuring Yiddish theater performer Aaron Lebedeff. Lebedeff was responsible for the popularity of a number of Yiddish theater songs.
Yehudi Wyner. Shown here at age 21 performing (piano) at the Brandeis Camp Institute in Simi Valley, California, 1950.
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