By the way and in the course of her research, the prominent art historian and former director of the Czernowitz Art Museum, Tetyana Dugaeva, showed up an art forgery which slipped in even into our Czernowitz Art Gallery. As a matter of fact, Berthold Klinghofer’s “Czernowitz. Ringplatz” from the year 1911 (at the top) found its counterpart in Victor Volkov’s copy (at the bottom). Excellent detective work!
Department of Art History
Source: Ars Judaica, vol. 1, 2005, pp. 156-58
▶︎Full movie, uncut and in English◀︎
Libra Film: Following 130 years of the emigration of Romanian Jews towards the Holy Land, both history of East Europe and Israel will be revealed, in a light, colourful film depicting history in human stories and collages, as a tribute to Tristan Tzara – born in the same town from where first Jews emigrated to Palestine in 1882.
In the same time we will discover all absurdities and contradictions in the relationship between Romanians and Jews: Romanians were responsible for some of the cruelest pogroms during the Second World War, but still Romania had the largest Jewish surviving population at the end of the war, after USSR. Communist regimes were trading this population with Israel, and Ceausescu made even a step forward requesting cash payment per person, but same Ceausescu was the one convincing Egypt to sign the peace with Israel.
In Israel, the population from Romania became the country’s fourth largest group, but they always stayed in the shadow, sometimes hiding their origins, even though important personalities emerged from that community, even though they have brought important elements to their new country; the Israeli anthem and national dance “hora” are both inspired of the Romanian folklore, to mention just that.
Today, a return to democracy in Romania has attracted many Israeli investors, almost the same number as the former Jewish community that is slowly vanishing. In Israel, a museum of Romanian Jewry will be built, in the first settlement made by them in Rosh Pina. But will their memory be carried on by the new generations?
Excerpt from the preface by Rita Calabrese: “[…] Dieser Band VI und hoffentlich nicht letzter ist der Musik und dem Tanz gewidmet. Nicht nur Stars wie Barbra Streisand, Amy Winehouse und Bette Midler sind zusammen mit Sängerinnen aus vielen Zeiten zu finden, sondern auch Pianistinnen und Violinistinnen zusammen mit Komponistinnen, die in Fanny Mendelssohn ihre Vorläuferin hatten, sowie auch Dirigentinnen. Auffallend ist die lange Liste der Künstlerinnen, die ein tragisches Ende in Auschwitz-Birkenau und anderen KZs gefunden haben, darunter die Pianistinnen Mathilde Borgenicht und Leopoldine Oppenheimer, die Violinistin Alma Rose, die Nichte Gustav Mahlers. Andere hingegen haben dank der Musik überleben können, wie Esther Bejarano und Fania Fenelon, die über das Orchester in Auschwitz geschrieben haben, Yvette Assaeler, Grete Klingsberg, Rachel Knobler und andere. Zu erwähnen ist auch Lin Jaldati, die während der Deportation Anne Frank kennengelernt hatte. Als eine der ersten hat sie die jiddische Musik in der DDR bekannt gemacht. Noch etwas zu diesem wertvollen Werk muss man hervorheben, und zwar die verdienstvolle Verfasserin. Geboren im k.u.k. Czernowitz, das später rumänisch wurde und längst zur Ukraine gehört, ist Hedwig Brenner über politische, geschichtliche und sprachliche Grenzen nach Israel gekommen, wohin sie das kostbare Erbe der deutschsprachigen jüdischen Kultur mitgenommen und einen neuen Anfang als Schriftstellerin gewagt hat.Im Hebräischen heißt Leben Chajim und ist Plural. Wie kaum eine andere zeigt Hedi Brenner die Vielfalt und Unschätzbarkeit der menschlichen Existenz, und dafür danken wir.”
From Ruth Levin, an article from the “Ost-Yiddishe Zeitung”, 2.6.1935:
“…Dr. Landau introduced to the audience a young man whose name
should not be forgotten. Probably, we’ll hear from him again and again.
Levin isn’t a singer, rather he’s an artistic reader. He’s not a reader, rather
he’s an actor. As a matter of fact he’s all in one: singer, artistic reader, actor
and poet. Why also poet? He reads to us only the poems of others, does he not?
That being so, this is the secret of his art. He reveals what is hidden between the lines.
He brings the poet to completion. He draws from the poet’s soul riches the poet himself
did not know of, riches that were hidden in his sub-conscious…
Frequently the words of the text in his mouth serve solely as a stimulus that awakens –
just for a passing moment – the poetic spiritual inheritance of his own, and that has
always to be born anew, like the music.
The art of Leibu Levin needs not only to be heard, though, but also to be seen. He himself
one has to hear and see, how he breathes into the dim hall, into the pearls of strangers’
poetry, his young burning soul, the creative, sometimes ecstatic, and sometimes weeping
soul… His profound understanding drew one deeply into the fables of
Eliezer Steinbarg and the ballads of Itzik Manger.
From time to time the reader becomes singer, and only when he was seen as well as heard,
did I finally understand the meaning of the old expression “to sing and to say”
regarding troubadours and minnesingers. When his spoken word passes to song, it reminds me
of a flying ship hovering above the earth and taking off to the blue heavens…
Talent is as rare as gold. From the gold it is possible to forge a holiday crown for
priests who serve gods and it is possible to pay with it the penance for sinful impurity…
Talent can be refined to capture surpassing art, or can descend to cheap popular
entertainment. It seems to me that all in Leibu Levin aspires toward and is uplifted to the
shining heights of noble art .”
Dr. Meyer Ebner
The newspaper “Ost-Yiddishe Zeitung”, 2.6.1935