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A German town built a granary atop its Jewish cemetery. Now the bones are yielding insights about Ashkenazi DNA.
BERLIN (JTA) – The city of Erfurt in central Germany is home to an impeccably restored medieval synagogue made possible because local Jews had been expelled long before the Nazis began their campaign to destroy Jewish sites.
Now, Erfurt’s long-hidden Jewish past is again offering new insights — this time about the genetic history of Ashkenazi Jews.
Human remains from a medieval Jewish cemetery in Erfurt have allowed what researchers say is the largest ancient Jewish DNA study to date. Conducted without disinterring any remains, in keeping with Jewish law, the study published Wednesday in the scientific journal Cell found that Erfurt’s medieval Jewish community was more genetically diverse than their modern-day cousins, and carried many of the same Jewish genetic diseases — such as Tay Sachs and cystic fibrosis — that affect Ashkenazi Jews today.
“There have been many previous DNA studies, but not of Jews,” said geneticist Shai Carmi, a professor at the Hebrew University of Jerusalem, whose search for study material led him to an archaeological dig at the Jewish cemetery in Erfurt. He and his collaborators were able to analyze DNA of 33 individuals who died between 1270 and 1400, using teeth they found there.
The study follows a similar analysis revealed in August by researchers in England, who studied the DNA from skeletons found at the bottom of a medieval well and concluded that the remains were likely of victims of an antisemitic massacre in 1190. Analysis of six individuals prior to their identification as Jewish revealed that Ashkenazi Jews developed a unique genetic variation centuries earlier than realized.
The Erfurt analysis also includes samples from before the epidemic of Black Death that was until recently understood to have created the genetic “bottleneck” that created the genetic markers common among Ashkenazi Jews today.
Erfurt’s Jewish settlement existed from the 11th to 15th century, with a brief gap following a 1349 massacre perpetrated after the Jews were falsely blamed for causing the bubonic plague. Surviving Jews returned there, but after all Jews were expelled once and for all in 1454, the city built a granary on top of the Jewish cemetery.
Karin Sczech participates in the excavation at the medieval Jewish cemetery of Erfurt. (Courtesy of TLDA Ronny Krause)
In 2013, the city approved the repurposing of the unused granary into a parking lot. Because it was an historic site, a rescue excavation was initiated, overseen for the State of Thuringia by German archaeologist Karin Sczech.
Meanwhile, Carmi had been looking for Jewish cemeteries anywhere in the world “where we could analyze remains already excavated,” he told JTA in a telephone interview from Jerusalem. “I consulted historians and eventually reached the archeologist in Erfurt.” Fortunately, he said, “they still hadn’t reburied the remains.”
He approached Sczech, who later became a co-author of the new study. In 2018, with a supportive judgment from Rabbi Ze’ev Litke — an Israeli expert on genetics and Jewish law — and permission from Erfurt’s then-rabbi, Benjamin Kochan, work began to extract and analyze DNA from detached teeth found in the graves. (About 500 Jews live in Erfurt today, most of them having migrated from the former Soviet Union since 1990.)
American geneticist David Reich picked up the teeth and brought them back to the department of human evolutionary biology at Harvard University in Cambridge, Massachusetts, where drilling and DNA extraction took place.
While the skeletons were reburied, the teeth are still stored at the research institutes where they have been analyzed, in case scientists need to retest to verify the result.
The project provides an ethical basis for studies of ancient Jewish DNA, Carmi said. “Of course we couldn’t just go to a cemetery and dig and take out skeletons; this would be prohibited,” he said, referring to Jewish law prohibiting the removal of bones from where someone was buried.
But Litke opined that the study could be done, because the bones already had been disturbed for an unrelated reason. “He recommended using teeth, as the analysis does almost no damage,” Carmi said.
There are many motivations to study Jewish DNA: One can find lost relatives going back a few generations, and answer questions about Jewish origin of partners intending to marry. But the goal of Carmi’s team was “to fill the gaps in our understanding of Ashkenazi Jewish early history.”
There are several non-destructive ways to obtain DNA from human remains, said Carmi, who also works as a consultant to an Israeli firm that helps clients trace their genetic roots.
“You can take an almost microscopic slice of bone and extract DNA in a solution, or put the entire bone in a solution and extract the DNA without drilling, without disturbing the dead. This opens the way to doing studies even without teeth,” he added.
His team found that the Erfurt community appeared to fit into two genetically distinct groups, descending either from Middle Eastern or European populations. This genetic variability no longer exists, Carmi said.
At the same time, Carmi said, the analysis found remarkable continuity in the local community, as well. “One third of the Erfurt individuals descended from one woman through their maternal lines,” he said, adding that evidence suggested that she lived between 1,000 and 2,000 years ago.
In a press statement, geneticist Reich of Harvard said the work “also provides a template for how a co-analysis of modern and ancient DNA data can shed light on the past. Studies like this hold great promise not only for understanding Jewish history, but also that of any population.”
The research team, with more than 30 scientists, included Hebrew University’s Shamam Waldman, a doctoral student in Carmi’s group, who performed most of the data analysis.
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The post A German town built a granary atop its Jewish cemetery. Now the bones are yielding insights about Ashkenazi DNA. appeared first on Jewish Telegraphic Agency.
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Rock legend Steven Van Zandt’s new gig: Holocaust education
(JTA) — Steven Van Zandt is worried about the Jews.
“There is that pre-Holocaust vibe,” the Rock and Roll Hall of Famer told the Jewish Telegraphic Agency recently about what he sees on social media, where he is a prolific user. “They spread lies around year after year after year, and if you say something often enough, people start to believe it.
“And that’s what happened that led to the Holocaust in the first place, and that’s what’s going on now.”
For a man equally beloved for his longtime work with Bruce Springsteen in the E Street Band and his role as Silvio on HBO’s “The Sopranos,” such a detour might seem unusual. But Van Zandt is looking to make his own mark in the world of Holocaust education, via his education initiative TeachRock, which since 2013 has provided K-12 lesson plans on a range of subjects built around popular music.
Titled “Jewish Heritage and the Holocaust: Exploring an Enduring Culture Through Music,” the initiative’s four-day lesson plan, launched this week, includes the onset of antisemitism in prewar Europe, survivor testimony and Jewish values. Anchoring the lessons are rock songs from the likes of KISS, the half-Jewish glam metal band, beloved Jewish folk singer Leonard Cohen and contemporary New York pop band Lawrence, which is fronted by two Jewish siblings.
It’s a departure from the somber tone of most Holocaust education programs, a space that the Jewish community has heavily invested in despite mounting questions about the effectiveness of such lessons in curbing antisemitism. Other contemporary Holocaust learning initiatives have employed video games, artificial intelligence and similarly novel approaches as educators struggle to adapt to a near future without living survivors to share their testimonies.
For Van Zandt, the lessons aren’t just teaching about the Holocaust, but also about highlighting positive Jewish influence in the world of popular culture. He rattled off a list of Jewish artists he admires, including Bob Dylan and the pop songwriting team Lieber and Stoller.
“I have a lot of gratitude for what they have contributed to my life, just in terms of enjoyment,” he said. “Show business doesn’t exist without the Jewish contributions.”
The guitarist founded TeachRock in 2013 alongside other big names from the world of music and the arts, including Springsteen, U2 frontman Bono, Jackson Browne and the director Martin Scorsese. On Thursday, the organization piloted its new Holocaust education lesson plan to 50 high school students at the Florida Holocaust Museum in St. Petersburg, timed to the state’s Holocaust Education Week. Florida’s Holocaust education task force is promoting the material to districts across the state.
“We always want to be educating in a way that feels like you’re not being taught. And I think this captures that,” Michael Igel, a contributing author on the TeachRock lesson plan who also chairs the statewide task force, told JTA.
For Igel, a descendant of survivors, the project fits neatly into his own efforts to bring Holocaust education into unconventional spaces. He’s planning future courses that incorporate food and theater.
“It’s still standards-based Holocaust education. But it’s being delivered to students in these different portals,” he said.
It was through Igel’s promotion of such nontraditional methods that he was approached by a member of TeachRock’s leadership council a year ago. TeachRock had recently been looking to offer lessons on Jewish heritage, and saw an opportunity to broach the subject of the Holocaust through Igel.
A huge E Street Band fan, Igel laughed as he recalled how the council member asked him if he had ever heard of Van Zandt.
The first of the curriculum’s four days opens with students listening to “Rock and Roll All Nite,” the 1975 hit by rock band KISS, before segueing into Jewish life in prewar Europe and the rise of antisemitism.
Igel noted the unique nature of the lesson. “When Gene Simmons with his tongue out is the first thing you see, you’re wondering, ‘What the heck happened to Holocaust education?’” he said.
Gradually the link becomes clear: The lesson explains that KISS frontman Gene Simmons is the son of a Holocaust survivor. Much of the curriculum is built around similar ideas of Jewish survival and resilience, as students are asked to contemplate how Simmons’ family background may have informed his outré stage persona. (Co-founder Paul Stanley is also Jewish.)
Such concepts, he said, help expand the idea of a Holocaust lesson beyond Jews as “victims in a snapshot of time.” In teacher training sessions, educators have responded well to the musical framing and excitedly discussed which songs they would want to pass down to future generations — a positive sign for Igel, who hopes to convince teachers to use the curriculum even outside of the state-mandated Holocaust Education Week lessons.
While Van Zandt, who is not Jewish, doesn’t craft the curriculum himself, he is friends with Simmons and the two have spoken before about wanting to use music to teach Jewish history. Max Weinberg, the E Street Band’s longtime drummer, is also Jewish.
The initiative comes at a moment when the world of popular music, like many other cultural sectors, has become engulfed in controversy over Israel. A recent dustup involved Ed Sheeran and Macklemore, in which Jewish venue owner Robert Kraft pressured Sheeran to drop the rapper from his tour over his onstage pro-Palestinian activism. That prompted many artists to support Macklemore, including Jewish actor Ilana Glazer, who spoke at one of his “Free Palestine” tour stops. Several leading musicians, including Lorde, Paramore and Björk, have also signed pledges to boycott Israel over its conduct in Gaza, while others including Pink and Boy George have taken opposite tracks.
All of this discourages Van Zandt, who famously led an international artist boycott of the South African resort venue Sun City in 1985 to protest Apartheid. The artists now backing the Boycott, Divestment Sanctions movement targeting Israel have cited the Sun City protests as a direct inspiration. (Sun City itself was founded by Sol Kerzner, the son of Jewish Russian immigrants.)
But Van Zandt says the two causes are different.
“Yes, I am known as the boycott king of the world,” he said. “It’s not the same situation. Trying to deny weapons for Israel to defend itself is obscene. It’s ridiculous. It’s terrible.”
He has feuded with Roger Waters, the Pink Floyd co-founder and outspoken pro-Palestinian activist, over BDS.
“I wrote him a very nice, detailed letter saying that it was misconceived, it’s a mistake, it’s not going to accomplish anything,” Van Zandt recalled. “I was very nice to him. Very diplomatic, very respectful. And then he starts just calling me names in the press.” (Waters has directed expletives at Van Zandt and other contemporaries who disagree with him about Israel in interviews.)
Igel, too, is thinking about how TeachRock’s lessons can address contemporary discourse over Israel, a subject that many Holocaust educators often are reluctant to bring up in the classroom even when students press the topic. His curriculum defines what a genocide is — “for a generation that needs to know what that word means, and what it doesn’t mean,” he said.
Following this week’s pilot program, both Igel and Van Zandt hope states beyond Florida will take an interest in their lessons. The rock star has ambitious goals for the initiative: to try to change the national conversation around Jews and Israel that has filled his social media feeds, which he describes as “lies on top of lies.”
“Eventually there’s got to be a national public conversation about this, which is not taking place,” he said. “So eventually it’s going to have to be. At that point, all bets are off.”
This article originally appeared on JTA.org.
The post Rock legend Steven Van Zandt’s new gig: Holocaust education appeared first on The Forward.
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Were Leopold and Loeb inspired by Nietzsche, or Jewish self-loathing?
Any production of Patrick Hamilton’s popular thriller Rope, like any game of Clue, can be reduced to props, setting and culprits.
The central prop is a large chest, containing a freshly-murdered body. The setting can vary: Mayfair in Hamilton’s 1929 original, Manhattan in Alfred Hitchcock’s 1948 screen adaptation starring Jimmy Stewart. The names of the players are sometimes different, but there are always two students in their finely-appointed apartment with the titular murder weapon.
Gordon Greenberg’s new adaptation, now playing off-Broadway at the New Group’s space at St. Clement’s, presents a novel clue as to what prompted the crime: a Christmas tree upstage right. In his take on this “well-made play,” which Greenberg believes has its deficiencies, the central characters, inspired by University of Chicago students Nathan Leopold and Richard Loeb, are once again Jewish, but doing their best to conceal that fact.
Hamilton, who wrote his play shortly after Leopold and Loeb’s conviction, was struck by the men’s alleged lack of motive, beyond a desire to pull off the perfect crime based on their nihilistic misreading of Friedrich Nietzsche’s philosophy. Greenberg doesn’t buy that the killing was dispassionate, and believes a crisis of identity was at play.
“What drew me to it was thinking about what the factors might have been that went into this murder that I personally find hard to believe was just theoretical,” said Greenberg, a director and playwright, who recently revived Joseph Stein and Stephen Schwartz’s The Baker’s Wife off-Broadway. “I don’t think anyone does anything for purely theoretical reasons. We can extrapolate them later, but in the moment we are going on gut impulses and human needs and sexuality and jealousy and all of these fiery emotional poles that make us human.”
Greenberg, who is gay and Jewish, had long been fascinated by the Leopold and Loeb case, wondering what led two well-bred, cerebral Jews to commit a supposedly “motiveless” murder. (In the real crime, notably fictionalized in Meyer Levin’s Compulsion, Nathan Leopold and Richard Loeb killed a 14-year-old boy, Robert Franks; in Rope, they kill a wealthy classmate.)
Hamilton’s play, which Greenberg found to be “antiseptic,” de-Judaized and stripped of queerness, is not concerned with the “why” of the killing.
His murderers, Brandon, described as “tall, finely and athletically built, and blonde” and Granillo, “a Spaniard” with the “shrug of the shoulders characteristic of his race,” are in it for the thrill. They convene a dinner party and serve the meal on the chest containing their victim, certain they won’t be caught.
In Greenberg’s version, set in 1957 Manhattan, Brandon is Garret Stern (Cameron Monahan), a working-class striver who declaims, in a break of the fourth wall, that he “wants to be mistaken for the son of assimilated German Jews, not the shtetl Jews with bent vowels and calloused hands from whom he actually descends.” (As part of the ruse, he’s abandoned his given name of Gary.)
Granillo is now Nate Singer (Corey Fogelmanis), the Yekke scion of a garment district macher who, to his upwardly-mobile mother’s delight, “can almost pass for gentile.” Both are students at Princeton and plan to drop the body back in Jersey after their macabre dinner party.
Like the real Leopold and Loeb, they are also involved sexually and sadomasochistically. Greenberg says he was partially inspired by Tom Kalin’s 1992 film Swoon, which revisited the killers through a queer lens.
Nate’s instilled self-hatred likely feeds into his desire to be dominated by Garret, whose rough upbringing as a Jew in postwar Skokie taught him the utility of violence. (His school principal praised him for breaking a boy’s nose, saying “your people aren’t exactly known for defending themselves.”)
Greenberg, who said that, as an actor he played “every Herb Gardner and Neil Simon play around,” chose to move the action up to the era Lavender Scare and a resurgence of casual, clubby antisemitism following the “chemotherapy of World War II” that briefly put it into remission.
Nate and Garret’s guests, for their post-Christmas shindig, whose centerpiece is a chest containing a corpse, include a polished, pedigreed classmate; a droll Sarah Lawrence student; their closeted professor, who will catch them in the lie; and a Mayflower-descendant judge who happens to be the father of Ronald Kentley, the deceased.
Driving the boys’ motive and cue for passion is Nate’s tormented attraction to Ronald, who he fears might out him and land him on McCarthy’s list. Garret is jealous, but sees an opportunity: In bumping Ronald off, he hopes to take his place as the judge’s surrogate son, gaining entry to the patrician world to which he aspires.
But their guests’ routine macroaggressions show the futility of trying to overcome their backgrounds. The Christmas tree is fooling no one. Greenberg is similarly unconvinced that Leopold and Loeb’s murder was merely a Nietzschean performance, undertaken to prove that morality need not apply to superior intellects.
“No one really knows what was going through their mind, and no one ever will,” Greenberg said of Leopold and Loeb’s crime. “But taking one of these fascinating true crime stories and positing what the humanity is behind it, what’s all the flesh on the bone, is to me the fascination and the fun exercise.”
The post Were Leopold and Loeb inspired by Nietzsche, or Jewish self-loathing? appeared first on The Forward.
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Documentary reveals composer Dmitri Shostakovich’s empathy for the Jews
אין רוסלאַנד איז לעצטנס אַרויס אַ דאָקומענטאַר רעזשיסירט פֿון גריגאָרי אילוגדין, מיטן נאָמען „DSCH: סימפֿאָניע נומער 13‟, וועגן דעם וועלט־באַרימטן קאָמפּאָזיטאָר דמיטרי שאָסטאַקאָוויטש און די ייִדן. כאָטש ער איז נישט געווען קיין ייִד, האָט ער געשאַפֿן מוזיק פֿאַר ייִדישע לידער און געווידמעט זײַן 13טער סימפֿאָניע דעם חורבן פֿון די ייִדן.
מיט דער אַברעוויאַטור DSCH, וואָס פֿיגורירט אינעם טיטל פֿונעם דאָקומענטאַר, פֿלעגט שאָסטאַקאָוויטש אונטערשרײַבן זײַנע נאָטן. מיינען מיינט עס D. Schostakowitsch. דאָס ווייסן, מסתּמא, אַלע מוזיקער, וועלכע שפּילן זײַנע ווערק. ווייניקער איז אָבער באַקאַנט דעם קאָמפּאָזיטאָרס שײַכות נישט בלויז צו ייִדישע טעמעס אין אַלגעמיין, נאָר דווקא צו ייִדיש. געוויינטלעך זינגט מען אויס זײַנע ייִדישע לידער בלויז אין דער רוסישער איבערזעצונג; אויף דער וועבזײַט „ייִדיש־קולטור‟ קענט איר זיי אויסהערן אויף ייִדיש.
אין פּעטערבורג איז די פּרעמיערע פֿונעם פֿילם פֿאָרגעקומען אינעם קינאָ־טעאַטער „אַווראָראַ‟, וווּ שאָסטאַקאָוויטש האָט אין די 1920ער יאָרן אָנגעהויבן זײַן מוזיקאַלישע קאַריערע ווי אַ יונגער פּיאַניסט, וועלכער האָט אַקאָמפּאָנירט שטומע פֿילמען. דער אַלטער קינאָ־טעאַטער, געעפֿנט אין 1913, האָט דעמאָלט געהייסן „פּיקאַדילי‟.
אין 1961 האָט דער רוסישער דיכטער יעווגעני יעווטושענקאָ אָנגעשריבן זײַן קורצע פּאָעמע „באַבי־יאַר‟ וועגן דעם טרויעריק־באַקאַנטן אָרט אין קיִעוו, וווּ די נאַציס האָבן אומגעבראַכט איבער 100 טויזנט מענטשן, אַרײַנגערעכנט צום ווייניקסטן 33,771 ייִדן. די פּאָעמע הייבט זיך אָן מיט די ווערטער „אויף באַבי־יאָר זײַנען קיין דענקמעלער נישטאָ‟. דאָ ציטיר איך יוסף רובינשטיינס ייִדישע איבערזעצונג, וועלכע איז דערשינען דעם 8טן אָקטאָבער, 1961, אינעם פֿאָרווערטס.
שאָסטאַקאָוויטש, דעמאָלט שוין וועלט־באַרימט, האָט באַשלאָסן צו שאַפֿן אַ סימפֿאָניע מיט אַ באַס־זינגער, אַ באַסן־כאָר און אַן אָרקעסטער, וווּ עס ווערט אויסגעזונגען די דאָזיקע פּאָעמע, און האָט עס פֿאַרענדיקט אין 1962. יעווטושענקאָ האָט ספּעציעל פֿאַר דער סימפֿאָניע אָנגעשריבן נאָך אַ ליד מיטן נאָמען „פּחדים‟. אין דעצעמבער 1962 האָט מען צום ערשטן מאָל אויסגעשפּילט שאָסטאַקאָוויטשעס 13טע סימפֿאָניע אין מאָסקווע, און אין מאַרץ 1963 אין מינסק.
דער פֿילם דערציילט, פֿאַר וואָס שאָסטאַקאָוויטש האָט זיך בײַם אָנהייב אָנגעטראָפֿן אויף גרויסע שוועריקייטן מיט אָט דעם ווערק. לויט דער סאָוועטישער שיטה איז געווען פּאָליטיש אומקאָרעקט צו דערמאָנען די טראַגעדיע פֿון באַבי־יאַר אין שײַכות באַזונדערס צו ייִדן, ווײַל דאָרטן זענען דערמאָרדעט געוואָרן – און, קוואַנטיטאַוו גערעכנט, מער ווי ייִדן – אויך סאָוועטישע געפֿאַנגענע און אַנדערע מענטשן. דערצו, האָט מען פֿאַרשוויגן די ראָלע פֿון די אוקראַיִנישע קאָלאַבאָראַנטן אין דער מאַסן־שחיטה.
די טעמע פֿונעם ייִדן־חורבן האָט מען בכלל אויסגעמיטן, ווײַל מצד דעם אָפֿיציעלן קוקווינקל זענען ייִדן געווען אַ רעלאַטיוו קליינער טייל צווישן די 26 מיליאָן אומגעקומענע סאָוועטישע בירגער. קיין דענקמעלער זענען אין באַבי־יאַר טאַקע נישט געווען ביז 1976, ווען מע האָט אויפֿגעשטעלט אַ מאָנומענט לזכּרון די דערמאָרדעטע „בירגער פֿון דער שטאָט קיִעוו און קריגס־געפֿאַנגענע‟. ערשט אין 1991 האָט זיך דאָרט באַוויזן אַ באַזונדערער ייִדישער דענקמאָל, און נאָך שפּעטער, אין 2016, אַ ציגײַנערישער.
אינעם דאָקומענטאַר ווערט דערמאָנט שאָסטאַקאָוויטשעס שײַכות צו דער ייִדישער שפּראַך. אין 1948, ווען אין סטאַלינס צײַטן האָבן אַ סך ייִדן געליטן פֿון רדיפֿות כּלומרשט צוליב זייער נאַציאָנאַליזם, האָט שאָסטאַקאָוויטש געשאַפֿן זײַן לידער־ציקל (אָפּוס נומער 79) „פֿון דער ייִדישער פֿאָלקס־פּאָעזיע‟, באַגרינדעט אויף יחזקאל דאָברושינס און אַבֿרהם יודיצקיס זאַמלונג „ייִדישע פֿאָלקס־לידער‟ (פֿאַרעפֿנטלעכט אינעם יאָר 1940 אין מאָסקווע).
איר קאָנט זיך באַקענען פּרטימדיק מיטן דאָזיקן ציקל פֿון שאָסטאַקאָוויטשן אויף ייִדיש און ענגליש אויף דער וועבזײַט „ייִדיש־קולטור‟, וועלכע האָט, ווי פֿריִער געזאָגט, אַ געוויסע שײַכות צום נײַעם דאָקומענטאַר. דער גרינדער פֿון דער דאָזיקער וועבזײַט, ד״ר מאַרק זילבערקוויט, איז אויך דער פּראָדוסער פֿונעם פֿילם. אילוגדין, דער רעזשיסאָר, האָט מיך פּערזענלעך פֿאַרבעטן אויף דער פּעטערבורגער פּרעמיערע פֿונעם נײַעם דאָקומענטאַר ווי אַ ייִדיש־שפּראַכיקן זשורנאַליסט. ער האָט מיר איבערגעגעבן, אַז ייִדיש שפּילט פֿאַר אים אויך אַ גרויסע ראָלע און ער האָפֿט ווײַטער צו פּאָפּולאַריזירן ר די שפּראַך.
וואָס שייך דער קאָמפּליצירטער באַציִונג פֿונעם ראַטן־פֿאַרבאַנד צו ייִדישע טעמעס איז כּדאַי צוצוגעבן, אַז אין 1961, דאָס זעלבע יאָר וואָס יעווטושענקאָ האָט אָנגעשריבן „באַבי־יאַר‟, האָט זיך אין מאָסקווע געעפֿנט דער ייִדישער ליטעראַרישער זשורנאַל „סאָוועטיש היימלאַנד‟. דאָרט און אין דער סאָוועטיש־ייִדישער ליטעראַטור בכלל האָט מען יאָ באַהאַנדלט דעם ייִדן־חורבן.
איין וויכטיקע זאַך ווערט נישט דערמאָנט אינעם פֿילם: ווען שאָסטאַקאָוויטש האָט געשריבן זײַן 13טע סימפֿאָניע, מיט וועלכע ייִדישע שרײַבער און דיכטער האָט ער זיך געחבֿרט? דער ענטפֿער וואָלט טאַקע געווען גוט צו וויסן.
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