Holocaust and the Nazi Era

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      Yuval Waldman, Bridge-Building Violinist, Is Dead at 74

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyYuval Waldman, Bridge-Building Violinist, Is Dead at 74A conductor as well as a skilled soloist, he liked to spotlight music composed in times of oppression, including the Holocaust.The violinist and conductor Yuval Waldman in 1977. Performing the music of composers who had been persecuted for their beliefs, he once said, was “not just a privilege but a calling.”Credit…Tyrone Dukes/The New York TimesFeb. 27, 2021Updated 4:00 p.m. ETYuval Waldman, an accomplished violinist and conductor with particular interests in building musical bridges between countries and rediscovering neglected works composed under oppressive circumstances, died on Feb. 1 in Brooklyn. He was 74.His son, Ariel Levinson-Waldman, said that the cause was coronary artery disease and that Mr. Waldman had also tested positive for the coronavirus shortly before his death.Mr. Waldman, who lived in Brooklyn, was the son of Jewish parents who survived the purges in Ukraine during the Nazi occupation of World War II, and his childhood involved several dislocations before the family eventually settled in Bat Yam, a Tel Aviv suburb. His career in some ways reflected his multinational upbringing and his sense of music as a lifeline in a turbulent world.He conducted the New American Chamber Orchestra, an ensemble formed in the 1990s and made up of Jewish émigrés from the former Soviet Union. In 2004 he founded Music Bridges International, which fostered concerts and educational programs that included music from different cultures — one program, for instance, featured American and Kazakh composers.He also played and conducted programs of music that had been composed under duress. Among them was a solo program titled “Music Forgotten and Remembered” and that featured works by Eastern European Jews, many of whom died in World War II or were silenced by the repressive practices of the Soviet Union. Another was “The Music of Oppression and Liberation,” featuring composers of various nationalities who were persecuted for their beliefs.“I feel it’s my duty to revive the memory of these composers by performing their music,” Mr. Waldman told The Oklahoman in 2011 when he performed the “Liberation” program at the University of Science and Arts of Oklahoma in Chickasha. “It’s not just a privilege but a calling.”Vladimir Waldman was born on Dec. 21, 1946, in Lvov, which was then part of the Soviet Union (and is now in western Ukraine, with the name usually rendered Lviv). He changed his first name to Yuval after the family had settled in Israel, taking the name of a figure from the Hebrew Bible associated with music.His father, Eliezer, was a lumber worker who was at one point conscripted into the Soviet Army; his mother, Chaya (Spivack) Waldman, was a teacher. As a boy in Lvov, Yuval was entranced by the violin music he heard at the movies and asked his parents for an instrument. He proved to have a gift for it. At the age of 7 he performed on Soviet radio.During a period of relaxed policies toward Jews after the death of the Soviet leader Joseph Stalin in 1953, the family left the country, living in Poland for a time and then in immigrant camps in Austria and Italy before reaching Israel in 1957. Eventually Yuval’s musical skills came to the attention of Isaac Stern, the great violinist, who became a mentor.Mr. Waldman studied at the Samuel Rubin Israel Academy of Music in Tel Aviv and played with Israel’s national orchestra as a teenager. After he graduated from the academy, Mr. Stern helped arrange for him to continue his studies in Geneva and then the United States, at both Indiana University and the Juilliard School. In 1969, at 22, he made his Carnegie Hall debut.Mr. Waldman’s musical career took off thanks to performances like one in 1970 at Riverside Park in New York City, where he was a soloist in a program by the West Side Orchestral Concerts Association. “Eloquent tribute to Mr. Waldman’s virtuosity in the finale was the spontaneous chorus of bravos that went up from his colleagues in the orchestra,” Robert Sherman wrote in a review in The New York Times.In July 1973 Mr. Waldman interrupted his career to join the reserves of the Israel Defense Forces. Because of all of the languages he had mastered through his multinational upbringing and touring, he was assigned to the intelligence unit. His musical skills had gotten him assigned to the entertainment unit as well. When the Yom Kippur War broke out that October, his son said, he was assigned to play for tank units in Sinai.Mr. Waldman’s son said he told the story of the time he clambered onto a tank when a commander ordered him to play something to soothe the troops after a particularly intense bombing. He played Bach. Many in the unit were recent Moroccan immigrants to Israel and had not heard Bach before.“My father remembered a moment when he was playing the Chaconne of Bach’s Partita No. 2 in D Minor,” Ariel Waldman said, “and looked up to see tears streaming down their faces in the dust.”By 1974 Mr. Waldman had returned to his musical career and was performing to acclaim in recitals and with orchestras. He had married Cathy Walder, a pianist and composer, in 1970, and they often performed together. But he also began branching out, serving as concertmaster for ensembles including the Kansas City Philharmonic and music director for events like the Madeira Bach Festival. He conducted and recorded with numerous orchestras, and he was a founder of several quartets and other ensembles.His first marriage ended in divorce in 1997. In addition to his son from his first marriage, he is survived by his wife, Lyudmila Sholokhova, whom he married in 2010; a sister, Rina Weiss; a stepdaughter, Valeriya Sholokhova; and two grandchildren.One of Mr. Waldman’s many activities was directing the Mid-Atlantic Chamber Orchestra in the 1980s and ’90s. At an online memorial service a few weeks ago, Mr. Levinson-Waldman told about a time when that ensemble was going to small towns, performing and bringing along experts to talk at schools, including a singer who would instruct the school choirs about breath-control techniques.“My dad spoke with an accent,” Mr. Levinson-Waldman said. “English was, depending on how you count it, his eighth or ninth language.”And so when he proposed the program to the town of Pulaski, Va., “unfortunately, some of the town leaders heard the wrong thing.” They were outraged, Mr. Levinson-Waldman said, that these out-of-town musicians wanted to instruct their students about birth control.AdvertisementContinue reading the main story More

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      Rare Violin Tests Germany’s Commitment to Atone for Its Nazi Past

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyRare Violin Tests Germany’s Commitment to Atone for Its Nazi PastThe instrument’s holders refuse to compensate the heirs of a Jewish music dealer, jeopardizing a system for restitution that has been in place for nearly two decades.The 1706 violin from the workshop of Giuseppe Guarneri at the center of the restitution dispute in Germany.Credit…Elke Richter/picture allianceJan. 25, 2021BERLIN — No one knows why Felix Hildesheimer, a Jewish dealer in music supplies, purchased a precious violin built by the Cremonese master Giuseppe Guarneri at a shop in Stuttgart, Germany, in January 1938. His own store had lost its non-Jewish customers because of Nazi boycotts, and his two daughters fled the country shortly afterward. His grandsons say it’s possible that Hildesheimer was hoping he could sell the violin in Australia, where he and his wife, Helene, planned to build a new life with their younger daughter.But the couple’s efforts to get an Australian visa failed and Hildesheimer killed himself in August 1939. More than 80 years later, his 300-year-old violin — valued at around $185,000 — is at the center of a dispute that is threatening to undermine Germany’s commitment to return objects looted by the Nazis.The government’s Advisory Commission on the return of Nazi-looted cultural property determined in 2016 that the violin was almost certainly either sold by Hildesheimer under duress, or seized by the Nazis after his death. In its first case concerning a musical instrument, the panel recommended that the current holder, the Franz Hofmann and Sophie Hagemann Foundation, a music education organization, should pay the dealer’s grandsons compensation of 100,000 euros, around $121,000; in return, the foundation could keep the instrument, which it planned to lend to talented violin students.An undated photo showing Felix Hildesheimer’s music store in Speyer, Germany. The store occupied the first floor of the building, and the Hildesheimers lived on the floors above.Credit…via David SandBut the foundation is refusing to pay. After first saying it couldn’t raise the funds, it is now casting doubt on the committee’s ruling. In a Jan. 20 statement, the foundation said “current information” suggested that Hildesheimer was not forced to give up his business until 1939, instead of 1937, as previously thought. So, the statement added, “we should assume that the violin was sold as a retail product in his music shop.”Last week, the Advisory Commission lost patience and issued a public statement aimed at raising pressure on the Hagemann Foundation to comply with its recommendation.“Both sides accepted this as a fair and just solution,” the statement said, accusing the foundation of not showing a “serious commitment to comply with the commission’s recommendation.” The efforts to contest the recommendation — four years after it was issued — by suggesting that the Jewish dealer sold the violin under perfectly normal conditions mean “the foundation is not just contravening existing principles on the restitution of Nazi-looted art,” the panel said, “it is also ignoring accepted facts about life in Nazi Germany.”The foundation’s refusal to pay is jeopardizing a system for handling Nazi-looted art claims that has been in place for nearly two decades and has led to the restitution of works from public museums and, in 2019, two paintings from the German government’s own art collection.Lawmakers set up the panel in 2003, after endorsing the Washington Principles, a 1998 international agreement calling for “just and fair” solutions for prewar owners and their heirs whose art had been confiscated by the Nazis. The families of Jews whose belongings were expropriated rarely succeed in recovering looted cultural property in German courts, because of statutes of limitation and rules that protect good-faith buyers of stolen goods. So the Advisory Commission, which arbitrates between the victims of spoliation and the holders of disputed cultural property, is often claimants’ only recourse.But the commission is not a court and has no legal powers to enforce its recommendations, explained Hans-Jürgen Papier, the panel’s chairman and a former president of Germany’s Constitutional Court, in an interview.“Instead it has the function of a mediator,” he said. “So far we have been able to count on public institutions to submit to the commission’s processes and implement its recommendations,” he added. “If that doesn’t work anymore, it’s unacceptable from our perspective.”After Hildesheimer’s purchase, the Guarneri violin’s tracks disappear until 1974, when it resurfaced at a shop in the city of Cologne, western Germany, and was purchased by the violinist Sophie Hagemann. She died in 2010, bequeathing it to the foundation she had set up to promote the work of her composer husband and support young musicians.The Hagemann Foundation, which has since restored the violin, began to investigate its prior ownership after her death. On noting the provenance gap from 1938 to 1974, it registered the instrument on a German government database of Nazi-looted cultural property, in the hope of finding more information about the Hildesheimer family. An American journalist tracked down the music dealer’s grandsons, and the foundation agreed to submit the case to the Advisory Commission.An undated photograph from the mid-1930s showing Felix Hildesheimer, right, playing piano accompaniment for his younger daughter, Elsbeth. Credit…via David SandWhen the commission ruled, in 2016, that the violin was likely to have been sold under duress, or seized after Hildesheimer’s death, the Hagemann Foundation accepted its terms and also promised that the students to whom it lent the violin would give regular concerts in Hildesheimer’s memory.But the Advisory Commission’s statement last week said it detected no “serious will” on the part of the foundation to raise the €100,000 compensation. The foundation’s continued description of the Guarneri violin as “an instrument of understanding” on its website is “particularly inappropriate,” the panel said, given its refusal to pay the heirs.The foundation’s president, Fabian Kern, declined an interview request, but issued a statement saying that the foundation had “undertaken countless efforts over several years to implement the commission’s recommendation.”David Sand, Hildesheimer’s California-based grandson, said in a telephone interview that the family had been “very accommodating, and even offered the foundation assistance with fund-raising in emails back and forth over the last four years.”“If the commission can be defied with no consequences, I don’t see how these cases can be dealt with in future,” he added.David Sand, a grandson of Felix Hildesheimer, in Los Angeles on Jan. 22. “If the commission can be defied with no consequences, I don’t see how these cases can be dealt with in future,” he said.Credit…Elizabeth Weinberg for The New York TimesPapier, the committee chairman, said he hoped the panel’s decision to tell the media about the foundation’s noncompliance would raise awareness among lawmakers and the public of the issues at stake. While the Hagemann Foundation is a private entity, it has close connections with the Nuremberg University of Music, which is owned by the German state of Bavaria, he said.He said he has already sought support from the Bavarian government, “but in the end nothing happened. Perhaps some political pressure will arise to ensure that this settlement, which was viewed by all involved as fair and just, is finally implemented.”But a spokeswoman for Bavaria’s Culture Ministry said it was “up to the private foundation to address the recommendations of the Advisory Commission. The state of Bavaria has no legal basis to influence private owners.”A spokesman for Germany’s federal Culture Ministry echoed these sentiments. The ministry has “no tools available to compel a private foundation to implement a recommendation by the commission,” he said.All this leaves the commission “standing high and dry,” said Stephan Klingen, an art historian at the Central Institute for Art History in Munich.“The commission’s only options are to hope that politicians somehow get them out of this mess, or to resign en masse,” Klingen said. “This puts the commission’s future on a knife edge. If there is no political support, then German restitution policy has reached the end of the line.”“If heirs can’t have faith in the implementation of the commission’s recommendations,” he added, “then why would they take their cases to it?”AdvertisementContinue reading the main story More