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5
In "The Inextinguishable Symphony" NPR's
Martin Goldsmith weaves his parents' love story
with their struggle to survive under Nazi rule.
851-7000 L A SINIA.CoYitt.
n 1936, Gunther Goldschmidt
was a slender, intense 22-year-old
flutist about to emigrate from his
native Germany. He had been
expelled from two music schools because
he was Jewish, and had a passport and
ticket to Sweden.
With his bags nearly packed, he
accepted one more gig, filling in for an
ailing flutist in an all-Jewish orchestra in
Frankfurt, the Judische Kulturbund. At a
rehearsal break, he caught the eye of 19-
year-old violist Rosemarie Gumpert.
He lasted only six months in Sweden.
Then he returned to Germany and to
Rosemarie.
The Inextinguishable Symphony: A
True Story of Music and Love in Nazi
Germany (John Wiley & Sons; $24.95)
tells the story of this young couple, their
search to survive under the Nazi regime
and, finally, their scramble to safety in
the United States.
Written by their son, National Public
Radio correspondent Martin Goldsmith,
The Inextinguishable Symphony weaves
three generations of family history into
the larger context of the times.
Goldsmith begins by re-creating a past
his parents had barely mentioned. It is a
past that shows not only the brutality of
the Nazi era but also the cohesiveness of
family and the joy of young love.
Both of the young musicians were
raised as members of strongly German-
identified families. Alex Goldschmidt,
Goldsmith's paternal grandfather, owned
a very successful clothing store in the
city of Oldenburg, located in northwest
Germany,. Maternal grandfather Julian
Gumpert owned a music conservatory
in Dusseldorf that specialized in the
teaching of the stringed instruments.
Goldsmith relentlessly tracked down
the history and fate of each of his ances-
tors. Except for his parents, only one
aunt survived.
His parents' survival was likely due to
their involvement in the Judische
Kulturbund. An organization that pro-
fessed to benefit both the Nazis and the
Jews, the Kulturbund gave many musi-
cians the opportunity to perform the
music they loved, avoid overt persecu-
tion by the Nazis and eventually immi-
grate to friendlier shores.
However, others see the groups as
encouraging performers and audience to
stay in an increasingly hostile Germany
until it was too late to escape.
By 1933, most Jews had been expelled
from German stages. Jewish audience
members were frightened to leave their
homes to attend performances.
The Kulturbund was the result of a.n
agreement among six Jewish cultural
leaders and Hans Hinkel, the Nazi offi-
cial who supervised the organization
until 1941, when war was declared.
At its height, the Kulturbund gave
employment to 1,425 Jewish artists,
including opera singers and chorus
members, actors, instrumentalists,
dancers, speakers, cabaret artists, graph-
ic designers and stagehands. Beginning
in Berlin, Kulturbund organizations
spread to Cologne, Frankfurt,
Hamburg and several smaller locations.
Although there were restrictions in
performance that grew over the years,
the groups' members enjoyed certain
protections. Some former members
report storm troopers guarding the
outside of the theater to make sure the
audience got safely in and out.
Above all, the performances were of
very high quality. "We had the cream
of the crop," former Kulturbund
dancer Hannah Kroner told
Goldsmith. "It was as if the stars of the
Metropolitan Opera, Lincoln Center,
Carnegie Hall and all the big New York
theaters were kicked out of these organ-
izations and reconvened in one place."
Reached by telephone in his subur-
ban Washington home, Goldsmith
said his parents and their friends were
not knowingly adding to Nazi propa-
ganda by playing in the orchestra.
"They were musicians and that's what
musicians do — make music."
However, he added, the Nazis would=
never have allowed the Kulturbund to
exist just to make Jewish performers
and their audience happy.
'First, it aided the Nazis attempts to
segregate Jews from mainstream German
life. They considered if the Jews were off
in a corner someplace doing their plays
and their concerts, they wouldn't 'infect'
German society," he said.