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BEHIND F&M, SOUTH OF 14 MILE • 626-5020 SLAB FOR 2 1 $2 OFF 1 1 / 3 2000 94 1 Coupon Per Order • Dine In or Carry-Out • Expires 11-16-2000 JN r t Free quarters for use only on games at Marvin Expires I 1/9/00 BBQ CHICKEN FOR 2 $2 OFF With or Without Skin Includes: 2 Potatoes, 2 Slaws and 2 Garlic Breads Includes: 2 Potatoes, 2 Slaws and 2 Garlic Breads L: 1 Coupon Per Person 4") J 1 Coupon Per Order • Dine In or Carry-Out • Expires 11-16-2000 JN ORCHARD LAKE RD. SOUTH OF 14 • Farm. Hills • DIANA LIEBERMAN Staff Writer I OUR TRAYS CAN'T BE BEAT FOR QUALITY & PRICE! 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.