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