Uncategorized
A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story.
(New York Jewish Week) — On a Wednesday evening last month, three generations of a Jewish family made their way to their seats at the Longacre Theater to see “Leopoldstadt,” Tom Stoppard’s epic Broadway play about the tragedies that befall an extended Jewish family in the first half of the 20th century in Vienna.
The date of the family gathering was a significant one: Nov. 9, the 84th anniversary of the Nazi pogroms known as Kristallnacht. And in the audience was Fini Konstat, 96, who lived in the once thriving Jewish neighborhood after which the play is named, and witnessed the horrors it portrays first-hand. Alongside her were her daughter and her son-in-law, Renee and James Akers, and her oldest great-grandchild, Lexi Levin, 23.
When Konstat was a child, she lived in a “nice apartment” in Leopoldstadt. But exactly 84 years to the day of their theater date, “I was running with my father, seeing all the Jewish stores with all their windows broken,” she told Levin in a short video her great-granddaughter filmed before the curtain rose.
“It’s such a blessing for me to be here with you,” Levin said to her great-grandmother in response. “Ninety-six years old, survived a pandemic, at a Broadway show in New York City.”
Left: Fini as a child on the balcony of her apartment in Leopoldstadt. Right: Fini with her three children in front of the very same building, pictured in 2015. (Courtesy)
Since the beginning of its Broadway run in mid-September, “Leopoldstadt,” with its depiction of a prosperous Viennese family on the brink of destruction, has moved audiences to tears and inspired deep reflections on the Holocaust. Based on the celebrated playwright’s own family history — of which he was barely aware while growing up in England — it has provided a stark counterpoint to news about rising antisemitism and the celebrities who have been purveying it.
But for Konstat, the play was much more personal. “When I heard the word ‘Leopoldstadt,’ this alone gave me lots of thrills and memories,” Konstat, who is known in her family as Mimi, told the New York Jewish Week in accented English. She recalled how Levin, who recently moved to the city, invited her to fly to New York to see one of Broadway’s hottest tickets.
“Leopoldstadt,” she repeated, her voice breaking. “The second district. That’s where we lived.”
At the end of Stoppard’s five-act play, audiences learn that most of the Jewish characters had perished under the Nazis — of the four generations in the show, just three cousins survive to carry on the family’s legacy.
For Konstat too, she and her parents were among the very few in their extended family to survive the Holocaust. “Almost all of them went to Auschwitz or other camps,” Konstat said. “My mother was a twin and only the twins remained alive. [My mother’s] five other siblings and my grandmother perished.”
L-R: Renee Akers, James Akers, Lexi Levin and Fini Konstat at the Longacre Theater to see Tom Stoppard’s ‘Leopoldstadt on Broadway,’ Nov. 9, 2022. (Courtesy)
In a Zoom conversation held over Thanksgiving weekend, Konstat, surrounded by two of her daughters, two of her granddaughters and three of her great-granddaughters, shared what the play meant to her — and how her family has restored what she lost.
In the months after Kristallnacht in 1938, Konstat and her parents hid in a neighbor’s apartment; Konstat recalls hiding under the duvet when German soldiers showed up. Eventually the family fled to Turkey, and then to India, before settling down in Mexico City. There, the teenage Fini met her husband David, also a survivor who escaped Poland. The two of them began to write the rest of their story — starting with the birth of the first of their three children in 1948.
Unlike many Holocaust survivors, Fini and David Konstat were open about their experiences during the war, instilling a sense of pride and duty to remember in their children — something that eventually extended to their grandchildren and great-grandchildren.
“They were proud to speak about how they survived this,” said the Konstats’ middle child, Renee Konstat Akers. “Their life was an odyssey. They had the courage to do things that you would never think were possible. We grew up grateful knowing how our family survived in that incredible way.”
Each child moved to different places as they grew up and got married. Manuel, the oldest, stayed in Mexico. Renee married an American and moved to the Midwest, and Denise, the youngest, to Houston. Each became deeply involved in their Jewish communities, sending their children (Konstat’s grandchildren) to Jewish day schools, celebrating Jewish holidays and participating in synagogue life.
“The word ‘miracle’ really does not feel like an understatement in this scenario,” said Sherry Levin, one of Konstat’s grandchildren. “When we think about what it took for my grandmother and grandfather to survive and how they were able to intersect in Mexico, and such an amazing multi-generational family has come to fruition, it feels miraculous.”
Pictured here on their 40th anniversary, Fini and her husband David met in Mexico City after both had fled Europe. They were married 54 years before David died in 2001. (Courtesy)
Reviews of the show have ranged from rhapsodic to resistant, with some critics suggesting the play is simplistic and obvious in its story-telling or that it is less a well-crafted play than a well-meaning lesson on the Holocaust.
But just as the Merz family clashes and argues about everything from antisemitism to intermarriage to socialism in “Leopoldstadt,” each generation of the Konstat family that saw “Leopoldstadt” that night came away with something different — a reaction influenced by their age, their Jewish identity, their nationality and their relationship with their family.
For Konstat, the arc of “Leopoldstadt” was so familiar that it hardly stirred her. “It was just very happy watching it and enjoying it and enjoying my children with me, “ she told the New York Jewish Week. “I didn’t think about anybody else.”
Akers, too, felt an intense familiarity with the story, and, perhaps toughened by her own family history, didn’t experience an intense emotional reaction. Her own parents’ lives gave Akers a sense of purpose in her life — for example, in the 1990s, she was passionate about helping resettle Jews fleeing the former Soviet Union. With her own children, she instilled in them a strong sense of Jewish purpose in their work, their education and their family.
“I was a sandwich in between seeing my mother and my granddaughter,” she said of her “Leopoldstadt” experience. “I was emotional thinking of my mom who went through it, but I was more emotional about seeing my granddaughter be so moved. It really hit her at her core.”
Indeed, it was the youngest member of the family present that night who was most shaken by the play.
“It really felt like a gift to my family and to me, specifically, to be able to see what Mimi’s life looked like before the war,” Lexi Levin said, surmising that, as a fourth-generation survivor, she is among the first in her family to be able to start processing the loss on a grander scale.
“For the first time in my life, I really felt the magnitude of her loss,” she added. “I’ve known her story and I’ve been inspired by her story to be involved with my own Jewish causes, but I have never been able to access and truly empathize with her grief and what it meant that she lost the entire family she had before this one that she created.”
Turning to her great-grandmother, as if trying to make her understand the exact precision of the show, Levin explained, “It’s a play about generations and the family was large and then it was small.”
“You made it large again,” she said, referring to the generations of family that had assembled — in the Broadway theater and again over Thanksgiving weekend. “Look at this room.”
Pictured on her 90th birthday in 2017, Fini Konstat now has three children, ten grandchildren and twenty great-grandchildren. (Courtesy)
There was a coda for the family after the curtain went down. The day after the show, the family wanted to see the 1907 “Portrait of Adele Bloch-Bauer I,” one of Gustav Klimt’s most famous paintings, which currently hangs at the Neue Galerie on the Upper East Side. A version of the portrait’s true story — how a painting of a socialite from a prominent Viennese Jewish family was looted by the Nazis and the family’s efforts to get it back — features in the plot of “Leopoldstadt.”
The gallery, however, was closed on the only day the family could visit. After a call to the management at the gallery, which showcases the German and Austrian art collections of Jewish philanthropist Ronald S. Lauder, the gallery’s director arranged a private tour.
“It felt like we were in a puzzle and everything was finally coming together,” said Akers. “It was an emotional, emotional time.”
When the week was over and the emotions were spent, Konstat and the Akers returned home with a reignited passion for their family story. But there was yet another twist: In addition to the whirlwind trip Levin planned for her grandparents and for Mimi, she had been undergoing the laborious process of applying for Austrian citizenship. Six members in Konstat’s large family have undertaken the process over the last two years.
“Part of the motivation was knowing Mimi’s story, and knowing that she survived because her mother had citizenship in Turkey,” Levin said. “That story was just inspirational to me, knowing that dual citizenship was what saved our family.” She convinced her brother and mother to apply for Austrian citizenship as well.
The day after her grandmother and great-grandmother left New York, Levin called them with news from her small apartment in Manhattan: An Austrian passport had arrived in the mail. The curtain was rising on another act.
Konstat was surprised at how interested her family was in getting Austrian citizenship. “I feel very good,” she said. “I’m very happy.”
“Does it make you emotional?” Levin asked her during the Zoom call with the New York Jewish Week.
“It does — of course it does. I used to love Austria,” she said. “I was sad to leave. I was disappointed. We never thought of coming back. I was happy to be able to escape. Thank God we made it out of hell.”
—
The post A Holocaust survivor and her family saw ‘Leopoldstadt.’ The Broadway play told their story. appeared first on Jewish Telegraphic Agency.
Uncategorized
Long after he was murdered by the Nazis, Marc Bloch enters the Panthéon
Yesterday, Paris experienced two record-breaking events. The first was that the city’s temperature hit 104 degrees Fahrenheit, forcing tourist sites like the Eiffel Tower and Louvre to close early. The second occurred at the Panthéon, which remained open to welcome the coffin of Marc Bloch, the first historian to enter this hallowed site.
The event was literally momentous. The massive 18th century structure, dedicated as the Church of Saint Geneviève, was rebranded by French revolutionaries in 1791 as the Panthéon, the monument for those “grands hommes” who devoted their lives to the French Republic. But in a time of relentless racist and antisemitic rhetoric, it was symbolically momentous, as well.
Bloch was born into a French Jewish family that chose to leave Strasbourg for Paris when Germany annexed their native Alsace in 1871. An adolescent during the Dreyfus Affair, Bloch interrupted a promising academic career in 1914, volunteering to serve in World War I. He spent four years in the infantry, then served as an intelligence officer; by war’s end, he had earned two wounds as well as four citations for bravery along with France’s most prestigious medal, the Croix de guerre.
Between the two world wars, Bloch and his friend Lucien Febvre founded Annales d’histoire et économique, a history journal that revolutionized the practice of history, turning away from the focus on great figures and events and towards the mundane and material lives of peoples. Bloch developed the influential, though elusive notion of mentalités: the term he gave to the intellectual and emotional structures that, no less certainly than was the case with material factors, shaped how past generations experienced their world. This theme informed his early book, Les Rois thaumaturges, or The Royal Touch, which examined the relationship between the myth of the king’s healing touch and the powers he was thought to embody.
The persistence of this myth was revealed in the wake of Nazi Germany’s defeat of France in 1940 and the nearly divine prestige bestowed on the nation’s new leader Philippe Pétain. The elderly hero of Verdun led a collaborationist regime whose first order of business was to pass a salvo of antisemitic legislation in late 1940 that stripped French Jews of their legal and civil rights. These laws forced Bloch out of his teaching position at the Sorbonne, despite the fact that, though 54 years old, hobbled by arthritis and father of six children, he insisted on rejoining the army in 1938.
Forced to abandon the family apartment in Paris, along with his library of 5,000 books, Bloch and his wife Simonne settled in the southern “Free Zone.” Stripped of his post, he nevertheless continued to practice the metier of historian. But he turned his critical gaze to the present rather than the past, holding fast to his claim—one as relevant now as then — that “when a widely held opinion is glaringly at odds with the truth, we are bound in honesty, I think, to attack it.”
The result was L’Étrange Défaite, or Strange Defeat, a searing account of how France’s military and political leaders managed to lose this war in a matter of weeks. Written in what Bloch described as a “white heat of rage,” he applied the same approach to these events as he did to those in medieval France, one “concerned with the task of seeking the solid and concrete behind the empty and abstract.” The principal reason for the debacle, he wrote, was that while the German strategists were fighting the present war, their French counterparts were fighting the last one. With poetic insight, Bloch observed that “thoughts of the last war clung to them because they were the thoughts of their youth. Those days long past had all the brilliance of things seen.”
By 1942, Bloch had come to see that, as a French patriot, he was duty-bound, despite his age, to join the Resistance where he assumed code names ranging from the majestic Narbonne to the mundane Monsieur Blanchard. His good fortune lasted nearly two years when, in the late spring of 1944, he was captured in Lyon, then imprisoned and tortured in its notorious prison Mount Luc. On June 16, he was taken in a truck with two dozen other résistants to an empty field outside the city and summarily shot to death. His buried remains were discovered shortly after the war, as was the manuscript for Strange Defeat.
Inevitably and rightfully, Strange Defeat provided much of the script for the evening ceremony at the Panthéon, which somehow managed to be both severe and stylish. Actors read passages from the book while military guards carried Marc and his wife Simonne’s empty caskets . (Bloch’s family did not want his remains to be removed from the cemetery where he is buried, while Simonne’s remains were never found.) Tellingly, when the caskets were set down inside the vast hall of the monument, an army officer recited, according to Bloch’s wishes, the several military citations for bravery he had received.
In his address, given while standing in front of a column which carried Bloch’s epitaph— dilexit veritatem (“He loved the truth”) — President Emmanuel Macron underscored the tragic relevance of the historian’s life to our own era. Referring to recent efforts made by figures on the extreme rightwing to reclaim Bloch as one of their own, Macron warned against “those who declare themselves more French than you…and yet are always the first to sell out France to hostile powers.” (Among the conditions Bloch’s descendants insisted upon was that representatives from the extreme-rightwing National Rally party could not attend the ceremony.)
But the words written by Bloch, in the introduction to Strange Defeat, are the most powerful evocation of who he was and what he represents. “By birth I am a Jew, though not by religion, for I have never professed any creed, whether Hebrew or Christian. I feel neither pride nor shame in my origins. I am, I hope, a sufficiently good historian to know that racial qualities are a myth, and that the whole notion of Race is an absurdity.” “I try never to stress my heredity save when I find myself in the presence of an antisemite.” Bloch concludes, simply and beautifully, “I was born in France. I have drunk of the waters of her culture. I have made her past my own. I breathe freely only in her climate, and I have done my best, with others, to defend her interests.”
In the other book he wrote during this period, The Historian’s Craft, Bloch quotes one of his sons who, when still a child, asked him what historians do. (The good historian, Bloch writes, “is like the giant of the fairy tale. He knows that wherever he catches the scent of human flesh, there his quarry lies.”)
As Bloch would have wished, he will always stand as an exemplar of what, in fact, historians do. And in the life he lived and values he died for, Marc Bloch will always stand as a reminder of what true patriots do.
The post Long after he was murdered by the Nazis, Marc Bloch enters the Panthéon appeared first on The Forward.
Uncategorized
Why Israel’s soccer team competes in Europe rather than Asia
(JTA) — TEL AVIV — More than five decades after Israel’s only World Cup appearance, the Israel Football Association says it has no intention of trying to leave Europe for the Asian regional qualifying system that once took the country to the tournament, before Arab-led boycotts helped force it out.
The launch this month of the tournament hosted by the United States has renewed attention to Israel’s absence from the World Cup. Despite a thriving local soccer scene and success in competition abroad, the only time the country appeared in the tournament was in Mexico in 1970.
That’s because Israel seeks to qualify through the Union of European Football Associations, whose ranks are so strong that even a solid campaign can become a long shot for the World Cup. Even titans like four-time World Cup winner Italy failed to qualify this year.
Israel is the only non-European country trying to reach the tournament through UEFA, while most of its neighbors seek places through the Asian Football Confederation. Israel was ousted from the Asian soccer body in 1974. It bounced around the qualifying zones for a few years — it played in the Oceania qualifiers ahead of the 1986 and 1990 World Cups — before settling in the European grouping in 1991.
Shlomi Barzel, head of communications for the Israel Football Association, said a return to Asia is not on the table, both because Israel does not want to leave European soccer, where it has built a standing, and because he does not believe the Asian confederation would accept it back.
The only upside to such a move, he joked, would be if Israel’s opponents boycotted matches against it: “Israel would automatically qualify.”
A boycott of Israel did affect the team’s path to the 1970 World Cup. North Korea was ejected from the Asian qualifying tournament after refusing to play in Israel. As a result, Israel advanced to the final round after winning only two games against New Zealand. In the finals, Israel faced an Australian team already exhausted after fending off South Korea, Japan and Rhodesia (itself in the Asian tournament after being banned in Africa over its white governing regime).
In the tournament in Mexico, Israel’s all-amateur team defied expectations, losing 0-2 to Uruguay but notching draws against Sweden and Italy before being eliminated.
Four years later, Israel was effectively ejected from the Asian Football Confederation following a resolution introduced by Kuwait that passed 17 to 13, with six abstentions. The vote came a day before a high-profile Israel-Iran game in Tehran that Iran won 1-0 on an Israeli own goal.
Today, Barzel rejects the premise that rejoining the AFC would guarantee Israel a place in the World Cup going forward.
“It would be a little patronizing and arrogant for me to say that,” he said, adding that he was not sure Israel would beat teams such as Jordan or Qatar.
Barzel also cited Israel’s place inside UEFA’s institutions as a benefit for sticking with the current arrangement. Current IFA chairman Moshe “Shino” Zuaretz was elected to UEFA’s Executive Committee in April 2025, despite the war in Gaza and growing calls to sanction Israeli soccer, while former IFA chairman Avi Luzon previously served in a senior role on the same body.
Institutional backing has extended beyond Europe, Barzel said, pointing to the 2022 World Cup in Qatar, where Israeli fans were allowed to attend despite the absence of diplomatic ties. He also cited the global soccer body FIFA’s decision to move the 2023 under-20s World Cup from Indonesia to Argentina after Indonesia objected to hosting Israel’s team. Israel went on to finish third.
Still, Israel’s formal place in international soccer has done little to shield its teams and supporters from hostility. Maccabi Tel Aviv fans were attacked in Amsterdam after a match against Ajax in November 2024, and the club’s supporters were later barred from attending an Aston Villa match in a decision that became a political and policing scandal in Britain.
Despite its absence from the World Cup, Israel has remained a political flashpoint around the event, which U.S. President Donald Trump vowed to make “an unprecedented success.” Speculation that Trump’s hopes for a World Cup untainted by war spurred his push for a ceasefire with Iran prompted a denial from the top White House official dealing with the World Cup.
That didn’t keep the conflict from seeping into the events.
In Boston on June 19, kilt-clad Scotland fans waiting in blocks-long lines to board shuttles to the stadium where their team would face Morocco accepted Palestinian flags from activists lining the route.
Hours before Canada’s opening match on June 12, activists draped a “Kick Israel out of FIFA” banner over a World Cup logo near one of Toronto’s busiest highways.
Days later, a viral video from Iran’s match against New Zealand in Los Angeles showed security guards confiscating an Israeli flag from a fan — who was told they were acting on orders from their superiors — while other spectators behind him held Palestinian flags.
Trump’s special envoy for global partnerships, Paolo Zampolli, told Israel’s Kan public broadcaster he was “very disturbed” by the incident in Los Angeles, adding that there was “no place for antisemitism or double standards in sports.” Zampolli, who had previously urged FIFA to replace Iran with Italy at the World Cup, called on the soccer body to treat the episode seriously.
Barzel drew a distinction between the flag incident, which he said was likely a poor decision by stadium staff, and any official FIFA policy against Israel, noting that Israel’s flag is displayed alongside those of other member associations at official FIFA and UEFA events. FIFA generally discourages flags of teams not playing in a given match, he said, and added that Israeli teams have grown used to seeing Palestinian flags in soccer stadiums.
“Personally, I don’t get worked up by flags — they don’t scare me,” he said.
Yoav Borowitz, head of sports at Kan, said FIFA appeared wary of flags being used as protest symbols, pointing to the Iranian lion-and-sun flag, the country’s flag before the 1979 revolution installed the current theocratic regime, which some fans waved at the same match. FIFA’s failure to clarify whether Israeli flags were allowed in stadiums in the days after the incident, he said, “shows where Israel stands at the moment.”
“There were official FIFA stewards there,” he said, “and if the fan was effectively forced to remove the flag, then I would have expected FIFA to have issued a response by now and said that Israeli flags are allowed into stadiums, just as Palestinian flags are allowed into stadiums, just as the flag of any country is allowed into stadiums.”
Any limits placed on Israel’s soccer association have been imposed solely on security grounds, Barzel said, though in October UEFA came close to holding an emergency vote on whether to suspend Israel over the war in Gaza.
At FIFA’s congress in Vancouver in April, when Palestinian Football Association president Jibril Rajoub refused to shake hands with Israel FA Vice President Basim Sheikh Suliman despite repeated appeals from FIFA President Gianni Infantino, who called on the sides to “give hope to the children.”
Despite such gestures, Israel continues to compete as usual — almost. It has been unable to host matches at home for close to three years because of war and has had to play its home World Cup qualifiers in neutral third countries. It is hosting several contests this fall in Moldova, which last year gained an Israeli embassy, and direct El Al routes, for the first time. (Russia, by contrast, has had its national teams and clubs suspended from FIFA and UEFA competitions since its invasion of Ukraine.)
Despite the controversies, FIFA has kept pressing ahead with its vision of soccer as “a force for unity, peace and hope,” including reported discussions about opening a new under-15’s tournament in the United States in September with a symbolic match between Israeli and Palestinian youth teams.
This article originally appeared on JTA.org.
The post Why Israel’s soccer team competes in Europe rather than Asia appeared first on The Forward.
Uncategorized
A klezmer virtuoso, Joseph Moskowitz was a cymbalist of Jewish progress in America
The restaurant occupies a long narrow basement on the Lower East Side. It is packed with a hundred Jews who fill the air with a fog of blue tobacco smoke as steak and lamb grills over charcoal. Everyone, it seems, has a glass of red Romanian wine, including the cymbalom player who is banging out a sad peasant ballad. The whole room sings along.
The scene is from the early 1900’s in Jews Without Money, Michael Gold’s 1930 novel about the poor of the Jewish Lower East Side. The mustachioed man at the cymbalom is not a fictional character, though. He is Joseph Moskowitz, a Romanian-born Jew who ran the restaurant with his wife.
One of the first klezmer virtuosos in America, Moskowitz had a hand in several of the city’s restaurants, including a wildly successful Second Avenue establishment frequented by underworld figures, politicians and showbiz royalty. The Kardashians would envy his shrewdness in garnering publicity for his multifaceted career.
In April 1908, just four months after Moskowitz came to Amerike, he landed on to the front-page of The New York Times in a review headlined “CHAMPION CYMBALIST IS PLAYING HERE NOW.” The story noted his strange instrument, a hammered dulcimer popular in Eastern Europe, looked like “a baby grand piano with the top off.” The newspaper reported that Moskowitz’s performance was greeted with cries of “Bravo!”
Nixon was here
Moskowitz’s career as a musician met with great success but his life as a restaurateur had its ups and downs. He ran a number of eateries in New York, including one in the Bronx and another in what is now referred to as the East Village with three waiters as partners. Then, after a performance in Akron, Ohio, he ran a restaurant there called The Romany.
The Moskowitz family lived above the joint. Its clientele included members of the Firestone and Goodrich families but the patronage of the rubber barons was not enough to sustain the restaurant, so Moskowitz moved to Washington, D.C. There, he performed at Michel’s, a restaurant started by a violinist he played with. Legend has it that among the regulars at Michel’s was congressman Richard Nixon who would bring in a brown paper bag concealing a fermented beverage.
“I would like to point out that one of Nixon’s first foreign trips as president was actually to Romania, where he was photographed dancing the hora at the Museum of the Romanian Peasant with Nikolai Ceausescu, the Romanian dictator,” said Pete Rushefsky, a widely esteemed cymbalist who is also executive director of the Center for Traditional Music and Dance in New York.
The triumphs and travails of Moskowitz’s life are recounted in his unpublished and untitled memoir, which is now part of the Joseph Moskowitz Archive, acquired earlier this year by the Music Division at the Library of Congress. The archive was established after a box of artifacts was discovered in the home of one of Moskowitz’s descendants in Cleveland.
An affair to remember
In the early 1900’s there were dozens of Romanian Jewish restaurants on the Lower East Side, which was home to so many Romanian Jews it was known as Little Romania. The neighborhood was also distinguished by a large number of dance halls and libraries.
The Moskowitz memoir, which was written in Romanian, makes clear that his restaurants did not always attract the cream of the crop. One became the headquarters for some Russians gangsters, most of them pickpockets.
At Lupowitz & Moskowitz, which moved from its original location to Second Avenue and 2nd Street, dinners started at 85 cents. In Moskowitz’s telling, business was going great until his partner Sam Lupowitz, stole money with the assistance of Moskowitz’s wife Rebecca with whom he was having an affair.
According to Moskowitz, the affair went on for nine years. It all started, he writes, when Lupowitz took Mrs. Moskowitz to a party and got her “totally drunk,” after which they proceeded to the kitchen to burn off some calories. Mr. Moskowitz put an end to the affair when he came home one night and caught his partner leaving Mrs. Moskowitz’s bedroom.
In the old country, Moskowitz himself had not been exactly celibate. He recounts an affair with a Romanian widow he describes as a grifter. For nine months, he wrote, they made love every day. This feat was apparently an exhausting endeavor because Moskowitz decided to depart abruptly, leaving a letter informing the widow that he could no longer “carry on in this manner.” The widow had other ideas and asked a local magistrate to arrest Moskowitz who managed to avoid incarceration by hiding.
A heavy lift
Joseph Moskowitz’s real superpower was performing on the cymbalom, which he started playing at the age of eight, taught by his father on a small folk version of the instrument. One of his first gigs was playing on the ferries that travelled the Danube. Eventually he learned how to play the large concert version of the cymbalom, which was developed in the late 19th Century and became a major orchestral instrument in Eastern Europe.
“He was an absolute virtuoso,” said Rushefsky. “His technical competence on the instrument was just incredible.”
Moskowitz was recorded playing a wide range of music on the instrument, including ragtime, classical, as well as Turkish, Russian and Greek music.
His cymbalom weighed 150 pounds and was not an easy instrument to schlep around, which made performing at restaurants appealing, since he could just leave the instrument there, though he did perform from time to time in concert venues, including Town Hall.
Rushefsky told me he was impressed with Moskowitz’s savvy at drumming up publicity for both his performances and restaurants. Moskowitz deftly cultivated relationships with media figures and other bold-faced names of the day. His memoir notes that among the celebrities who came to hear him play were Theodore Dreiser, Chaim Weitzman and Jascha Heifetz.
“He had a meticulously curated scrapbook filled with articles about his restaurant and reviews of his performances. You can tell that was really important to him,” Rushefsky said.
In Around The World In New York, a book about the city’s ethnic neighborhoods published in 1924, the immigrant newspaperman Konrad Bercovici described Moskowitz’s restaurant as a place with “haunting melodies, tripping dances” and spicy food. “At Moskowitz’s on Houston Street the Rumanian Jews sing at the top of their voices the songs of the country they left,” Bercovici wrote.
A klezpirational figure
Many of the old scratchy 78 rpm vinyl disks that were vital to the first wave of the klezmer revival in the 1970’s and 80’s featured a clarinet-centric sound but the earliest recordings we have of klezmer, from circa 1908, the violin is the main instrument, often accompanied by cymbalom.
Moskowitz’s recordings are widely available on YouTube.
“His repertoire is performed by klezmer bands around the world,” Pete Rushefsky told me. “His recordings continue to be an inspiration for a small but dedicated group of musicians working to revitalize the cimbalom as an essential part of klezmer’s sound.”
The post A klezmer virtuoso, Joseph Moskowitz was a cymbalist of Jewish progress in America appeared first on The Forward.
