Steve Schwartz wrote:

>Robert Peters continues replying to me replying to him.  I want to
>address mainly one point he made: that Furtwaengler, Orff, and Strauss
>could "easily" have emigrated.

There is an article on Furtwangler in the most recent International
Record Review.

>Can I "easily" emigrate? Not really.

For some of the same reasons Steve mentions...as well as others...I have
considered same.  If you know of some institution in England or Canada
that is interested in having me, let me know...vita available...experienced
in teaching music, audio preservation and reformatting, classical music
broadcasting, reviewing, audio engineering, producing, etc.  let me know.

I am reminded of how it came to be that Hindemith emigrated.  As I recall
he had an offer to teach at Yale...or perhaps that happened shortly after
his move...on the other hand, some people did not get out "when the
gettin' was good," or possible.

On a somewhat related note...thinking about this...for an artist living in
Europe to move to the US...they would be subjected to a culture where art
is not given the same respect as it is in Europe...wow, am I ever opening
myself up for flack on that generalization...

I think of composers like Lopatnikoff who left because of what was going
on in Germany...his music was being performed by the likes of the Berlin
Phil...he eventually settled in Pittsburgh, and while Steinberg played
his music with the Pittsburgh Symphony, I don't recall he ever had any
more performances by the Berlin Phil.  He became an "American" composer
and became subject to a different kind of prejudice.  True, the move did
not substantially limit the impact of Schoenberg and Stravinsky, but
they were already established on the international scene.

Moving to this country did not help the careers of others like Toch, and
Bloch...bad career moves, probably, but it kept them alive.

Karl