{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://thebreman.aviaryplatform.com/iiif/8w38050b92/manifest","type":"Manifest","label":{"en":["Kronberger, Yolanda"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/082/original/TheBreman_SecondaryMark_Horizontal_Blue_Black.png?1713640889","metadata":[{"label":{"en":["Date"]},"value":{"en":["1991-09-16 (captured)"]}},{"label":{"en":["Agent"]},"value":{"en":["Kronberger, Yolanda (Interviewee)","Ghitis, Sara (Interviewer)","Galex, Audrey (Interviewer)"]}},{"label":{"en":["Language"]},"value":{"en":["English (primary)"]}},{"label":{"en":["Format"]},"value":{"en":["video"]}},{"label":{"en":["Source"]},"value":{"en":["William Breman Jewish Heritage Museum","Esther and Herbert Taylor Jewish Oral History Project of Atlanta"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eYolanda Kronberger is interviewed by Sara Ghitis and Audrey Galex in Atlanta, Georgia on September 16, 1991.\u003c/p\u003e (general)","\u003cp\u003eYolanda Waghalter Kronberger was born into a highly musical Jewish family in Berlin, Germany on January 22, 1912. Her father, Wladyslaw Waghalter (1885-1940), was a violinist and concertmaster originally from Poland. Her mother, Johanna Neumanovics Waghalter (1883-1943), was originally from Romania and also a musician. Her uncle, Ignatz Waghalter, was the conductor at the Deutsches Opernhaus. As a child, Yolanda learned to play the violin while her younger sister and only sibling, Ruth Waghalter Muller (1914-1943), accompanied her on the piano. At the age of 12, a march Yolanda wrote, called “Jackie Coogan,” was published.\u003cbr\u003eAfter the Nazis came to power in 1933, Yolanda’s father and uncle lost their jobs. Yolanda went to Paris, France for a year, where she found a position at the École Normale de Musique. She then returned to Germany and continued to pursue a musical career despite increased persecution. She began playing with the Jüdischer Kulturbund and in 1935, competed in the Wieniawski International Violin Competition.\u003cbr\u003eAfter Kristallnacht, Yolanda decided to leave Germany. Thanks to a pragmatic engagement to another musician who had emigrated to Latin America, she was able to obtain a visa to immigrate to Bolivia. In January 1940, Yolanda set sail from Genoa, Italy aboard the Orazio. The ship caught fire off the coast of France and sank. Yolanda was rescued and taken back to Genoa, where she eventually boarded another ship to Bolivia. \u003cbr\u003eSettling in La Paz, Bolivia, Yolanda married Adolf Kronberger (1909-1972), a Czech refugee she had met on the Orazio. Later in 1940, Yolanda received word through the Red Cross that her father had died from a heart attack. In 1942, Yolanda and Adolfo welcomed their first child, a daughter named Esther. In January 1943, Yolanda’s mother, sister and brother-in-law were deported from Berlin to Auschwitz-Birkenau, where they died.\u003cbr\u003eIn 1947, the Kronbergers moved to Lima, Peru. In 1949, they welcomed a son, Carlos. Adolf worked in the textile industry and Yolanda built a successful career as a violinist, accompanying many well-known musicians and singers. She played with the National Symphony Orchestra, led a string quarter, was a member of a jazz orchestra, and taught at the National Conservatory. Yolanda died in Lima on August 18, 1984.\u003c/p\u003e (bioghist)","\u003cp\u003eYolanda recounts her family history. She discusses her musical preferences and plays the piano. Yolanda recalls her father’s death. She talks about the Berlin Opera her father and uncle worked at. Yolanda shares anecdotes about her father in World War I. She remembers the challenges of beginning her career as the Nazis came to power. Yolanda describes surviving a shipwreck as she left Europe. She talks about the early years in Peru. Yolanda remembers the help she received in Italy after being rescued. She mentions losing her father and her sister. Yolanda reminiscences about falling in love with her husband and friends she made on the way to Peru. She talks about navigating the challenges of immigration. Yolanda reflects on her career and retirement. She remembers highlights of her career and considers the benefits of retirement. The interview concludes with Yolanda recalling other musicians and playing the piano.\u003c/p\u003e (scope content)"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003eAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, recorded by any information storage and retrieval system, without the express written consent of the William Breman Jewish Heritage Museum.\u003c/p\u003e"]}}],"summary":{"en":["\u003cp\u003eYolanda Kronberger is interviewed by Sara Ghitis and Audrey Galex in Atlanta, Georgia on September 16, 1991.\u003c/p\u003e","\u003cp\u003eYolanda Waghalter Kronberger was born into a highly musical Jewish family in Berlin, Germany on January 22, 1912. Her father, Wladyslaw Waghalter (1885-1940), was a violinist and concertmaster originally from Poland. Her mother, Johanna Neumanovics Waghalter (1883-1943), was originally from Romania and also a musician. Her uncle, Ignatz Waghalter, was the conductor at the Deutsches Opernhaus. As a child, Yolanda learned to play the violin while her younger sister and only sibling, Ruth Waghalter Muller (1914-1943), accompanied her on the piano. At the age of 12, a march Yolanda wrote, called \u0026ldquo;Jackie Coogan,\u0026rdquo; was published.\u003cbr /\u003eAfter the Nazis came to power in 1933, Yolanda\u0026rsquo;s father and uncle lost their jobs. Yolanda went to Paris, France for a year, where she found a position at the \u0026Eacute;cole Normale de Musique. She then returned to Germany and continued to pursue a musical career despite increased persecution. She began playing with the J\u0026uuml;discher Kulturbund and in 1935, competed in the Wieniawski International Violin Competition.\u003cbr /\u003eAfter Kristallnacht, Yolanda decided to leave Germany. Thanks to a pragmatic engagement to another musician who had emigrated to Latin America, she was able to obtain a visa to immigrate to Bolivia. In January 1940, Yolanda set sail from Genoa, Italy aboard the Orazio. The ship caught fire off the coast of France and sank. Yolanda was rescued and taken back to Genoa, where she eventually boarded another ship to Bolivia.\u0026nbsp;\u003cbr /\u003eSettling in La Paz, Bolivia, Yolanda married Adolf Kronberger (1909-1972), a Czech refugee she had met on the Orazio. Later in 1940, Yolanda received word through the Red Cross that her father had died from a heart attack. In 1942, Yolanda and Adolfo welcomed their first child, a daughter named Esther. In January 1943, Yolanda\u0026rsquo;s mother, sister and brother-in-law were deported from Berlin to Auschwitz-Birkenau, where they died.\u003cbr /\u003eIn 1947, the Kronbergers moved to Lima, Peru. In 1949, they welcomed a son, Carlos. Adolf worked in the textile industry and Yolanda built a successful career as a violinist, accompanying many well-known musicians and singers. She played with the National Symphony Orchestra, led a string quarter, was a member of a jazz orchestra, and taught at the National Conservatory. Yolanda died in Lima on August 18, 1984.\u003c/p\u003e","\u003cp\u003eYolanda recounts her family history. She discusses her musical preferences and plays the piano. Yolanda recalls her father\u0026rsquo;s death. She talks about the Berlin Opera her father and uncle worked at. Yolanda shares anecdotes about her father in World War I. She remembers the challenges of beginning her career as the Nazis came to power. Yolanda describes surviving a shipwreck as she left Europe. She talks about the early years in Peru. Yolanda remembers the help she received in Italy after being rescued. She mentions losing her father and her sister. Yolanda reminiscences about falling in love with her husband and friends she made on the way to Peru. She talks about navigating the challenges of immigration. Yolanda reflects on her career and retirement. She remembers highlights of her career and considers the benefits of retirement. The interview concludes with Yolanda recalling other musicians and playing the piano.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003eAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, recorded by any information storage and retrieval system, without the express written consent of the William Breman Jewish Heritage Museum.\u003c/p\u003e"]}},"provider":[{"id":"https://thebreman.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["William Breman Jewish Heritage Museum"]},"homepage":[{"id":"https://thebreman.aviaryplatform.com/","type":"Text","label":{"en":["William Breman Jewish Heritage Museum"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/082/original/TheBreman_SecondaryMark_Horizontal_Blue_Black.png?1713640889","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/256/812/small/Kronberger_Yolanda1.mp4_1731677114.jpg?1731677117","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812","type":"Canvas","label":{"en":["Media File 1 of 2 - Kronberger__Yolanda_1.mp4"]},"duration":3813.81,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/256/812/small/Kronberger_Yolanda1.mp4_1731677114.jpg?1731677117","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/content/1","type":"AnnotationPage","items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-thebreman.s3.wasabisys.com/collection_resource_files/resource_files/000/256/812/original/Kronberger__Yolanda_1.mp4?1731677110","type":"Video","format":"video/mp4","duration":3813.81,"width":640,"height":360},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812","metadata":[]}]}],"annotations":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637","type":"AnnotationPage","label":{"en":["Kronberger, Yolanda_Part 1 [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: ... and Mama. I was very quick to learn by heart--by heart, not by music--everything she told me that is. Every child now is able to do the same.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=4.0,20.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What year was that?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=20.0,22.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Well, I was born in 1912, so I was really the blessing of my parents, which married in England because they had no paper. Father was a Russian citizen from Russia and my Mama came from Lugoj, Romania, Hungarian. Both joined in their studies in Berlin [Germany], so it was easy. They had their child. They had the honeymoon. Because this was illegitimate that you are marrying in Berlin. Papa didn't do any military service. But at the time, 12, we had 12. We moved from one department in Berlin [on] Uhlandstrasse to the new department. [It was] very elegant because Papa became a first concertmaster. Yes, so in this home there, there came a blow, the First World War, right ... five, four, no, four months after my sister, Ruth Waghalter, was born. This was more a blow for my father because he already had a promise to come over to Glasgow, Scotland, which was the former [Emil] Mlynarski, the father of love for Arturo Rubinstein, to be concertmaster, which failed by the outbreak [in] August 1914.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=22.0,159.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: You said it was illegal for them to marry in Berlin?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=159.0,162.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=162.0,162.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Why was that?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=162.0,163.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Because my father had Russian papers and he burned because he was at the time of his 17 years, he was with the Mendelssohn Prize and he couldn't go back to make military service. This is obligatorio [Spanish: obligatory], yes. And to get a quick marriage before they came, they even gave a violin ... My father, he was as a Polish immigrant in a German family.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=163.0,208.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What about the rest of your family? How many brothers and sisters did you have?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=208.0,212.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Well, I have a very nice story about my grandmother. Her name was ... Her name was ... [She was] married to Abram Waghalter, Adam. She was the provider of the whole family, a woman who sat and played very nicely piano and was the famous Mrs. Szulc, Karolina Szulz, S-Z-U-L-C. Her brother later on founded in Egypt, Cairo--this is authentic--the music conservatory. His son, I think, it's ... has relative here. I'm not so sure, so I'm limited to say. That's his musician family. Or as they say, might I say, klezmer families, yes.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=212.0,288.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Yes.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=288.0,288.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Klezmorim.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=288.0,289.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Klezmorim. What do you know about other relatives before your grandmother?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=289.0,295.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: The last time we went two, three times to Warsaw [Poland] to meet my grandmother. She died at the age of 89. She sang. She was absolutely blind and lived all the family there but unfortunately, I lost every contact after the ... now ... after those things. I can't only remember. I have still pictures, which she took in Warsaw with a statue of [Frederic] Chopin. Seen this. And they were ... lived very near that. Last time I was visiting with my father, who got competidor [Spanish: competitor] [in a] competition of [Henryk] Wieniawski. You didn't know?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=295.0,357.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: I did not know.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=357.0,357.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, so it comes out .... How I say? United for always in my life was music, so I didn't become, I didn't have to wish it was there, and the blessing.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=357.0,375.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Was your husband a musician?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=375.0,378.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: No. He started as ... In school, he had some violin lessons in school, but he liked music and I must say, he had very fine gusto [Spanish: taste]. How do you?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=378.0,399.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Taste.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=399.0,401.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Taste to sort out. Owing to this, and seeing me playing, and everything, he said, \"You must change your attitude. People after a sermon, they don't want to hear very sad one. You must change your program, your repertory because people arguing, 'How are you enduring those music? Frankly, we don't understand your music your wife is playing.'\" They said that several times to him. So, I made up my mind with a smashing Csárdás [by Vittori] Monti, which brought me in Bolivia, where I lived for six years. My immigration [was] in the year 1940. So, this was it. But formally, I was really offended that I had to play not my music, which was which I was growing up [with], no. So, you see, me and I play every music and I'm very proud because in the latest years of me, there came Astor [Piazzolla] ... the famous who altered the tango. And you can see me. They have some [film] reels, as they say, of me playing the state orchestra with Astor ... I can't get the name now.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=401.0,512.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Can you play some tango for us?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=512.0,518.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, okay. Let's see it. I don't play them. I'm not officially a pianist, but I can manage.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=518.0,585.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Yolanda, you are talking about 'your' music and 'I wanted to play my music.' Show me what you mean by your music.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=585.0,595.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: My music is ... Very early, say about the time of 11 years, I discovered that I can't see very well with my eyes, so in the dark I sat down on the piano. We had an upright piano. They gave recently a grand when my sister was studying. So, I sat down and tried to close my eyes and I found the notes. This is more important. See? You want ... This is my music. My music is all music if they are nicely written and it's a pleasure to listen to.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=595.0,649.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Is this music you have composed?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=649.0,652.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: No, this is only an invention with every musician who had not luck to be noted. They had no papers at the time, everything, and they made all these special variation of the themes. They gave them freely. Everybody has now. You have a scene, you play the variation. Yes? Understood? Good. Sometimes I'm a little confused because I don't like the piano. I have a better one in my home.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=652.0,692.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: But would you mind still using it?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=692.0,695.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=695.0,696.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What do you want to play for us?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=696.0,700.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: I play ...","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=700.0,703.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: Excuse me just one moment. Could you move just a little bit around? Let me help you.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=703.0,710.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, it is a little awkward. I would like to have ... to switch the stool.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=710.0,717.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: To the smaller stool?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=717.0,718.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, because it's a switch stool. How about...","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=718.0,745.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Piazzollo, yes, Piazzolla is the name, Astor Piazzollo, which is a famous bandoneon [player]. He tried to make classical Sinfónica [Spanish: symphony], the tango. Yes. He died last year. We played in Lima [Peru] several times.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=745.0,775.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: How about this? You like it?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=775.0,834.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: That is very good. Could you tell us what you just played again?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=834.0,838.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: This is from a trio for [Johannes] Brahms, which, in times of great sorrow, my father played instead of the cello, the viola that the children could learn the trios. He was already retired was a very small pension because he never thought of leaving Germany. This was until the year 1940, in which year he died in his bed, as they tried to tell me. But until now I didn't find the grave and I have the intention to travel next year to find his gravesite.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=838.0,893.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Where is his gravesite?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=893.0,894.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: It should be in Weissensee [neighborhood of] Berlin. Even my mother told me--the letters came over the Red Cross; I don't know if you knew this is the only connection we had--that they tried to fix a stone with his letters. Afterwards, I wasn't so sure. I came on my own before the war was created with my passport, a German passport again. I didn't find it. This was on a Sunday. I came to the cemetery, who wasn't clean anymore, with flowers in my hand and I dropped this in some place. I couldn't find it. All my clothes get shredded, but I didn't mind. I wanted to find the grave and they didn't know where the grave was. This is one of those things to be on the east side. It's a very hard connection. On the other side, many people offered them to Peru, to care for the grave. Even they made very nice pictures of this, but turned out this were other graves.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=894.0,991.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Yolanda, what orchestra did your father play with exactly?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=991.0,997.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=997.0,1001.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: [Unintelligible.]","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1001.0,1003.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Well, the orchestra where my father had the contract was the fourth opera in Berlin, with the newest installation for opera, mostly of [Richard] Wagner's opera. They were very proud to have this. This opera was founded in 1912 year. May I interrupt or no?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1003.0,1038.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: [Yes.].","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1038.0,1038.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, good. Right in the living room, there's a red book. You saw this book of my father's? Yes. And where the glasses are, where the bottle is, there's a red book. Yes, I will show you.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1038.0,1063.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: Now, what is that exactly?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1063.0,1065.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: This is an open orchestra in Charlottenburg. That's a district. They had a huge opera, which was bombed, and this ... He was the founder. My father was the founder. This is in 1912. You can see this here. Here he is sitting on the first stand. I think he [was] about 26 years [old]. He, himself, yes. I was his first child. And this is my uncle, conductor.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1065.0,1101.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What was your uncle's name?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1101.0,1103.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: My uncle's name is Ignatz Waghalter.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1103.0,1107.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: Is that the one standing?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1107.0,1107.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: And you see here ... That's open house in ... Yes. They made the book. Now, here [is a picture of] the original building. From Deutsches Opernhaus [German: German Opera House] till Deutsche Oper [German: German Opera] Berlin. This is now different [unintelligible.] Here says, \"[Unintelligible German].\" This means obligation. You are obliged, noblesse oblige [French: nobility has an obligation to fulfill social responsibility]. [Unintelligible German].","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1107.0,1150.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Memory.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1150.0,1150.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Memory means obligation, yes? That's it. And here you can see the picture first of my uncle, who had the first opera, Fidelio, of [Ludwig van] Beethoven. The very first 50 years ... I have a very nice ... Here [is] the first time of [Giacomo] Puccini's La fanciulla del West. Here and this is all the [unintelligible]. You can't very nearly see. And the string quartet my father had.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1150.0,1207.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: Is that him in the picture?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1207.0,1208.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: He's in the picture, yes.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1208.0,1210.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Galex: Hang on just a second. Let me zoom in.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1210.0,1212.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Here [is my father] reading the score. This was nicely made. The [other] three [men in the picture], I don't know if they lived. I know for sure that the cellist died in Shanghai. This I know for sure. So, we went on and on and there, I have a very nice anecdote. The ancient, famous Wilhelm Backhaus, and pianist of unknown, and I don't ... I can't remember what ... This is some of the nice stories I can remember. [He] came to Peru. He was accompanied. Wilhelm Backhaus was playing at the time. I can't remember if it was Brahms or Beethoven. Anyway, in the intermission, we went to congratulate and I told him my name. So, he looked up at me and said, \"I can remember the name of a Waghalter with whom I was shoving canons in the time of the war.\" This was my father. He couldn't go out in 1914. [He] became instead of a prisoner, German, so my nationality stems from there, the German nationality. Father couldn't play the violin with a bayonete, standing in Spandau. This is see the same ... How do you say? ... Fortaleza [Spanish].","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1212.0,1327.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Fortress.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1327.0,1327.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Fortress. So, he tried to memorize the chaconne [a musical composition] on his [unintelligible]. I was really moved that he has, as a man of 80 years, that he still had a good memory. Not he only was there; Wilhelm Kempff [was], too. That is the other and we have still in some [unintelligible] their sonatas. They were a specialist in Beethoven, Brahms on the piano and he came to Peru and to tell me this.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1327.0,1374.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What about your musical career? When did you have your first job as a musician?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1374.0,1379.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: The job was very hard to get because you must study first. My father brought me still in 1933 when the laws came out, the first thing, he at the time of 1933, I had a real repertoire as a pupil of him and of my mother's. Both tried the best to lead me into the atmosphere of music. So, in 1933, we went both to Paris looking for Jacques Thibaud, which accepted me as ... How you say it? As an assistant in the École Normale de Musique [French: Normal School of Music of Paris]. No assistant; no, a [unintelligible].  I only was preparing the works with the assistant, Mr. [Unintelligible], and was in this class of chamber music. So, this is [unintelligible], yes, as you see. Then, I heard by some chance--this is very interesting for you--that in the year 1933--I stayed one year at the École Normale de Musique--they were forming Orquesta de inmigrantes [Spanish: Immigrant’s Orchestra] [unintelligible] under the conductor Alexander Kozelev. This very man, after having been liberated, came to Bolivia, recognized me, and brought me to Peru. This is a very ... He was from Riga [Latvia] and grew up in a very Orthodox home at the same destiny as me. And Alexander Kozelev brought me first to Arequipa, the second town in Peru. This is really my first real job. But before I came, I had to leave France. I had no [where to] stay there. After the studies, they couldn't give me any work and you are asking about a professional [job]. So, at the age of 23, I begin to play in the orchestra of the Juedischer Kulturbund [German: Jewish Cultural Association], yes, and this ... They founded here with every Jewish musician still available. If they didn't .... At the time, everything was normal and nobody could believe that something is going wrong. Yes, life was ever ... We were restricted until it was too late to recognize that so many Jews were left who couldn't go and come. Only if you had relatives ... See, nobody tried because on the other hand, you never get the permission to work. This is one of the things. Only America for all ... gave us the freedom to work. This is one of the things. This is very important. If you have work, you are earning money so you cannot [unintelligible]. You help your family. You help everybody. This is in my case and in a thousand, a million cases.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1379.0,1631.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What happened after that job?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1631.0,1634.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: This Kulturbund had to close because the war was on. [Nineteen] thirty-nine there came the Kristallnacht and we ... I don't know how my father was spared. We were still sitting in the same house on Brandenburgische Strasse dreiundvierzig [German: 43 Brandenberg Street]. It still stays. [It] was very lucky not to get bombed. I saw the house after ... more or less. In the year 1943, I could see the house. Well, this one thing. I stayed more or less five years in the Kulturbund and then by any luck, I got engaged with a colleague of mine, who brought me to Bolivia.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1634.0,1694.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: How did you meet him?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1694.0,1696.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: I never met him because, with three violins coming over, it's a 16 hours drive in the train. My father accompanied me still in the year 1940. I came to Genoa [Italy], to the port where the ship should start, [the] Orazio. Owing to several voyages, they couldn't start. There was something wrong. My husband wrote about this. I unfortunately don't have it with me. Only my son has the report. That ship burnt to the ground in the Gulf of Lion. I was saved without violins because I came down from the red-hot body [of the ship] safely in a small boat and came to Marseilles [France]. There were many things. Of course, I was impressed so much going on. I didn't want to ... I hold back. I was sitting about 17 hours on this ship. Everybody tried to save himself and there was a tremendous ... You are... In January, all the sea are very agitated. I have still pictures in my home--very sad--even with nuns who went to Peru sitting on my violin cases, if it was possible. I came back after having been rescued first to Marseille, sitting in my bed in a hotel in Genoa, the town of [Niccolo] Paganini, when a young men came in. He tried to make the account of everybody who had lost their belongings. By the way, they gave us only $10 at this time from Germany to come through to other country. The violins where they declared valuable because this is my ... but not so valuable as a Stradivarius or like this; only these were violins which I have been playing all the time. Two [were] in the double case and one in the ... How do you say? In the baggage, yes. [I was] soaking my hands in a bath, which they gave me in Marseilles. Seeing that they were safe from burning, I was very glad. Can you imagine this? Others died. About 150 people died in this ... How do you say? Incendio [Spanish: fire]?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1696.0,1933.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Fire.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1933.0,1934.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Fire. This ... My son could get the New York Times picture and he has everything on it. I have a picture from a Hungarian who went around to take snapshots of the remaining of the Orazio, but she [the ship] later sank.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1934.0,1963.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: How did you finally make it to Peru?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1963.0,1967.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Finally, to Peru. This is the story of the founding of Mr. Kozelev's Inmigrantes Orchestra, which I inscribed myself. He found me in Bolivia. My daughter, Esther, was already born, and I thought only in the moment to inscribe me for the orchestra, I saw only a wing from the head of ... And I thought, \"Wouldn't it be nice when my Esther could have a swing all the time and I can study?\" You see? We must always study instead of new things coming on, because at this time of my daughter's birth, I was still a violinist, a soloist. It means you must come on. Three years later, I found Mr. Kozelev and he said if they getting me as director of the school in Ariquipa. Yes, I tried to head there. In the meantime, I traveled three times, giving small seminarios [Spanish: seminars], as they say it, for pupil, and they gave me a tenure in the year 1948. [What] do you mean a tenure? They were very happy to have me. I played various concerts. This I can remember. One was a concert of the \"Symphonie Espagnole\" and the other was with a small orchestra. You can always play with a small ... is the ... concert E in ... No, how is this? Yes, E major. Yes, [the Violin Concerto in E major by Johann Sebastian] Bach. So it's a little mixed up with the Spanish and you must excuse me. It is very hard to switch from one channel to the other. This is one of those things.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1967.0,2123.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What happened after that?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2123.0,2125.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Well, being in 1948 on the move from Bolivia to Peru, I came first with my daughter, Esther. She at the time had for years [been] singing like a bear my concerts. And she was very happy sitting on my lap singing all the German songs with her clear voice, with ... How do you say? They get very chaposo [Spanish: rosy-cheeked]. I counted ...","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2125.0,2169.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: [Unintelligible].","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2169.0,2169.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, and she has almost blond hair. She was so proud to sit and sing around the hymn of Bolivia, the hymn of Peru, and everything because she knew it. I was practicing in my home. So, it's ... I never will forget this. So you need to have a special ear for the violin because we got to play on four strings only, only on four strings. This is one of the things. She, later on, she joined this chorale, but she never studied really. Unfortunately, I had no time. I had no time since I was running my household because I couldn't leave my violin. That's another story which is very important for you to know, which brought me to an open Judaismo [Spanish: Judaism], sitting ... Yes, this young man who took the count of everybody, he was already eight months as a volunteer of the Jewish emigration help, with [an armband], and got everybody out from the train, and was asking, \"May I help you? Have you means to come forward?\" Because ...","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2169.0,2282.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: When was this?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2282.0,2283.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: This was in the year 1940.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2283.0,2285.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Where?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2285.0,2286.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: In Genoa, yes. Or, how do you pronounce Genoa? Yes, the town of Paganini. So, coming back with the train from Marseilles, where I was saved ... I only remember to be on the burning ship, I didn't want to leave my violin case, which I had for me. But the ... marineros [Spanish: sailors]?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2286.0,2319.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Sailors.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2319.0,2321.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: The sailors said, \"La vita. La vita. Es la vita.\" I had to stay. So, when this young man came, made an account, I was really sick. In January, I always get the bronchitis was high fever. Item for item, he took this and went along. He, himself only went with a coat. He saw me and he said, \"Well, you ... I think you are staying alone with some woman in the hotel Bella Vista. Do come along.\" We have a day of grace for the dead ones who died in the synagogue. I went there and the only thing ... I was very angry about him because I ran after him to fetch him and said, \"Mr. Kronberger, I made a mistake in my account. Instead, can you kindly put me instead of German marks,\" at the time, \"the dollar value of all what I have lost?\" He said to me, very cool, \"You have no use. You'll never get a cent of it.\" I thought at this time I could kill him without violin. Fortunately, I knew a gentleman who spoke Italian. He began to write on this because this was a disaster everybody knew at this time, 1940. He wrote to [Casa] Ricordi. Then came the day of the grace, saying the grace in the synagogue. I can't remember a name, nothing [of a] woman sitting above. Somebody, a nice woman, tried to speak with me. I didn't know one word of Italian. She tried to speak in German and said she found out that I'm alone traveling to Bolivia to be a bride in Bolivia. She said, \"Well, you didn't lose somebody?\" I said, \"No ... a violin only. [She said,] \"A violin?\" She took me by the hand and brought me to another lady and explained my case. Within 40 days, I had a violin, which was given by Dahlia Ottolenghi, a harpist who tried to play at this time a sonata of Beethoven, Moonlight Sonata. I can remember everything how it was. I was so confused. If you don't speak the language, I was so confused, but so happy to have a violin and Ricordi [unintelligible] answered me and sent me all the sheet music I needed, even with a letter on Giovanni Brahms instead of [Johanne], which I conserve and which I try to give now to my pupil. This is the most important ... in more ... in a mysterious way. I tell you frankly.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2321.0,2568.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: So, you were traveling to Bolivia. Your husband was there, or he ... You were engaged to him, right?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2568.0,2576.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: No, this was not my husband. The husband really ... This was a colleague of mine, a horn player. It's a sad life story because a telegram from Bolivia where he stood, Paul Witner. He was playing the horn in this orchestra of Berlin and when my sister first was engaged ... See, after this, she was deported with her husband. So, mama said, \"Well, the only thing is we are not very happy that you are marrying a hornist because it's out of the social ... because usually the daughter of a concertmaster marries a conductor or at least a tenor. This is the first person ...\" Well, this is ... I am making a joke, but no, she really meant it. But what could she do? She was desperate and I think this was the cause of my father's [death], too, because they knew only by the words even I sent after the catastrophe. I sent some telegram from Marseilles. It was free and you could go. I sent some word to a good friend of mine who lived in Ascona in Switzerland and this man sent me money to be very ... to have clothes on. People always help me, always in every situation, and I never will forget this. So, Ricordi with the sheet music and they made us sign for the insurance company, which was insured, that we didn't lose, that it is not their fault. Then, if you signed it you could get the money. At this time, the dollar was 20 liras for each dollar. They gave us 1,500 liras and a ticket again on the other ship, Augusta. So, there I was in Marseilles for a circumstance I never will forget where I discovered I had no violins, nothing. There was a lady and I resembled her best friend and she was so unfortunate that her husband was dead when she returned to Genoa. Can you imagine? Marseilles ... So, we both ... But she didn't know when we came back. So, I asked for her and almost every day I was with her. There was a burial. Mrs. Schoenberg ... I think I can remember it was Marta Schoenberg and she went to see her stepsons in Cochabamba [Bolivia]. I lost track. So many things is going on and you lose the friends. But she made it possible that I could have the permission to come from my cabin to the second class. There comes the love story. In Panama, coming for the first time, I was studying. I was happy. I had the music and I was studying in my cabin, which was alone and so I could study. So, in Panama, everybody could come out, but not the third class, which I belonged [to]. So, I came out in the morning with Mrs. Schoenberg. We was seeing around what the shops and everything [had]. She returned to the boat. Returning, we found Mr. Kronberger, Adolfo Kronberger. Recently, he got the permission that somebody could come out in the night. So, I joined him and I asked him, \"Could I join you?\" He says, \"Why not,\" and we stayed together 35 years.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2576.0,2895.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What was he like?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2895.0,2899.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Oh, smashing.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2899.0,2900.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Smashing?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2900.0,2901.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Smashing.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2901.0,2903.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What do you mean?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2903.0,2904.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Very good looking. And the first thing he did to help his girlfriend ... Because his story is quite interesting, too, but this is too long. He helped the first time his girlfriend, who tried to help him from Italy to France, because he was Czechoslovak. He learned ... His profession was a textile engineer, who graduated in Brno in Czechoslovakia, a country which my father liked very much. It was very near and he was often invited for the ambassador to perform Czech composition, even when I was small. Well, it's a rare circumstance that I am coming to Czechoslovakia. So, you must know I tried. Then after this, we both came to Bolivia. You said we were welcomed? No, they made everything to shun us away. Who stayed? Only two couples, which we are chained together during the fire on the ship [unintelligible] because he has his brother. They were trading in wood, madeiras [Spanish: wood], no? Yes, and my husband, Adolfo, he had the money, 50 pounds English, which he had to change immediately. So, he came over with a huge map full of Bolivian money. Good, but I had the recommendation of a Peruvian composer, Jose Velasco Maidana, who came to our house in the year 1938, in my own house, because we couldn't leave our house from the time on. He played his composition and his ballet Amerindia was performed on one of the stages in Berlin. Owing to this, my father was a very cherished member of the [unintelligible] Freiden und Gerechtigkeit [German: Freedom and Justice] ... Federico, Friedich of Justice, no? Or, Justica [Spanish: justice]? How you say?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2904.0,3097.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Justice.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3097.0,3098.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Justice, yes. He was called by phone saying, \"Vladeck,\" this was his name, Wladyslaw Waghalter, or Vladeck, \"do me the favor to receive the Bolivian musician, Velasco Maidana.\" And this is a true story. Not only that they gave me permission to come to Bolivia with the help of Paul Witner as a bride--this is a solution very often you employ--and he truly helped me. Velasco Maidana helped me more, was my companion on the stand on the third day in La Paz [Bolivia]. This was Walter Montenegro, a lawyer who studied international law. He died this year of cancer. Did you know?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3098.0,3167.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: No.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3167.0,3168.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: He helped very much immigrants, yes. What can I say? Many people who were saved through the consul in France with a faked visa, they should be ... have the blessing of all that still people who want to let help. And this, I extend this blessing to their families. I never will forget. I don't forget. This is my fortress.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3168.0,3211.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What was your life as a musician like in Peru once you got to Lima?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3211.0,3216.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Si [Spanish: Yes]. Now, coming to Peru, it is the same, but I was surprised because there was already an orchestra founded by Theo Buchwald, an Austrian, with the help of many people in Chile. They were ... They mentioned ... We heard from this in Berlin and made an application, my father and me. But unfortunately, during the war, they were searching for the musicians [who] were already in South America. So, for instance, the concertmaster, Bronislaw Mitman, founder. He lost his wife in concentration camp. He came to Peru, knew my father when he was a boy, when my father played in the Warsaw Philharmonic. So, he received me with open arms. He said, \"You will have ... In the moment, we have nothing free. You wait until you come, until it has some free post.\" Then, something very nice happened: the birth of my son. Theo Buchwald said to me, \"I'm very sorry. You can't join my orchestra because all the time you will say, 'My cook didn't come. I have to care for my child.'\" So, I waited eight years still to join the orchestra, which I'm joining still because this is my life.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3216.0,3336.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What do you do as a musician now?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3336.0,3340.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: See, for the law, they oblige you to resign at the age of 70, yes. Suddenly, I got a note from above, the institute because the abbreviation of the Peruvian orchestra is OSN. That means Orquesta Sinfónica Nacional [Spanish], National State Orchestra, which is so wonderful for everybody, but the diving board for all the famous singers in the world. I can say I have been accompanied, for instance, besides of Pavarotti, but every soloist can remember the triangle of Ernesto ... What was his name? Lozado, who sent his agents even to me to make concerts. This was the ABC round: Argentina, Bolivia, Chile, and then they came to Peru, but we were always the best orchestra to accompany. I was not on the first then. I advanced gradually. I must say it's a still very good orchestra, but not in the same level to find here in America but people were very happy to get a break. Even the new generation is having their children here learning in various ... How ... different, mostly in ... How say Bloomsbury? It's in Illinois. There's a music school. We had ... the American orchestra always had their invitation with flutists and everything. They come along.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3340.0,3490.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: In what capacity did you play with that orchestra? What was your position?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3490.0,3496.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Well, I was always the first violin, yes. I like to be the first violin. It's easier. It is a hard thing for a second. You must be very musical to have. In the meantime, in Peru, I formed two string quartets, but as you see, they are not learning sufficiently. I must say, I have to support them, to encourage. It is a very difficult thing, yet you stay a musician. You can't do anything [except] what you are doing. At the age of 75, you are out of the orchestra, but still you want to join. There are so many jobs and I was very unhappy becoming a widow, so they said, \"Join us to forget. And this is fun for you, the only [one] who's enthusiastic.\" We are not receiving great money. With the coming of the 75 years, there was a new talent, which was my pupil. This is David Klinger. No, David ... I can't remember, but later on, I will remember the name. David was brought by his father to see what he should learn as a musician. He was desperate. He wanted him to become a lawyer. This is for the ... one of those [unintelligible]. They don't know. They see second class as musician, which I don't believe because I begin to write a nice book, seeing this from my point of view. Without the bread, there is no meal. Without musicians, there is no meal. Without music, there's no consolation. Without music, you go along, but very fine is the observation in Romeo and Juliet, which I found casually, that even for weddings, when the musician comes, you are delighted. Music with the silver song and then the performance stops. Why silver song? Silver song because musicians never get paid in gold. Did you [recognize] this? It is the first act of Romeo and Juliet.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3496.0,3699.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What has music done for you?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3699.0,3705.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/72637/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Everything. I can ... Even enjoying here this program in Atlanta [Georgia], especially in the house of my daughter, where I'm staying now. Fortunately, after so many adverse happenings in my life, happenings not about health ... I don't care, even when I had my first heart attack. That means a big thing. I've come to see what's all about this really in music. It's so hard for every composer to have the right score to perform. Good music is very hard to perform and I'm really glad at the age now of 79, when I can learn more about music. This is my best moments. I can retire to learn more, to understand even the construction of a flute. When the first time came, when I went back to Berlin, some Spanish flutist who doesn't live anymore asked me to provide for the [unintelligible] these little ... See, I didn't know how the function ... I only had the violin. This came of the promise never to leave as a pupil of my father's.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3705.0,3813.81"}]},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377","type":"AnnotationPage","label":{"en":["Kronberger, Yolanda_Part 2 [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=0.0,1.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: He didn't come to the Hochschule [German: university or college] of music, so I promised myself. [I said,] \"Father,\" of course it made him happy, yes, \"I never will study with anybody; only with yourself.\"","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1.0,19.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Is there something you want to tell your children and your grandchildren?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=19.0,24.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Both have the enormous gift to have a good ear. This I discovered recently because clear as a bell, they are singing all the commercials and they are recommending me that I must give them time to study evenly, if they have time. Don't lose hope. If you are not engaged, don't lose hope. Somebody discovers it and [even] if it's only one person who discovers you. The best thing that happened to me when in the year when I was 60 years. I don't know if I told you about it. There came an ambassador. His name was James Loeb and his wife [Anna Frank Loeb] studied in Cleveland [Ohio] music. She was the violist in our feminine orchestra, which traveled for the [unintelligible]. No, for the jungle. You knew this?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=24.0,110.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: No, I did not.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=110.0,111.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, it's [unintelligible]. This was quite interesting. Just before the architect, [Fernando] Belaunde, was elected, we went from one point in Peru to the other, with the exception of Cajamarca [Peru], which we never came. The last trip which I had with them was on the Amazon River. We embarked in a ship, [an] American gunboat, and we came to Iquitos [Peru] over to Pucallpa [Peru] only playing string quartet, feminine quartet. This made me really famous because there in the jungle, you have only radio, no television. Now, we have radio and now, today we have radio in every point. I was very happy with your book. You will surely read this with Mario Vargas Llosa. But on the boat we tried to rehearse. It was not possible. But this whole thing happened, he could join us very near the machinery to rehearse the quartets of Brahms, which we wanted to perform later on. It was not possible. We had to return because the revolution again was on. It is very hard to play in the revolution, but if I think of Beethoven, he was in the 30 years of his composing Beethoven and there was always war on. But you write, you write good music, bad music, and then you write.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=111.0,246.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Do you have any regrets?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=246.0,249.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Regrets of what? Maybe there are some moments which I ... But in ... That is my weakest point. I can't stand a false note. This is ... I can't always say what I want to say. In the last minute, before I came this year, I was very happy to get a green card. Everything's reminded me and I have more time for myself, which you don't have if you are running a household.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=249.0,296.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: How would you like people to think about you?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=296.0,302.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: I am not so very proud. It's an outside; it's not the inside of [unintelligible]. They try to please you and I never will forget. This is most important. I wanted that everybody who comes to United States, which has the incredible possibility to move in freedom ... This I cherish. You can openly speak even if it's not pleasant. But you will have the freedom here, which is still there, I always pray not to lose. And this gives us hope.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=302.0,356.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What would you like to play for us now?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=356.0,361.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: What shall I do? They seem to be very religious and it's made a good impression. Even being a Jew, when I ask for permission to leave on Rosh HaShanah or Yom Kippur, the orchestra--because we always have performance even on Friday, so I can't go to my synagogue in Peru--they give me always permission because I openly asked on religious ground. This is too a democratic move, yes, as we say, under my conductors, who ... They all are Catholic with the exception of the guest conductor. But we think we should try to get together all religions.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=361.0,434.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Would you like to play something for us now?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=434.0,437.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: What would you like to hear?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=437.0,439.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Anything you would like to play.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=439.0,441.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, I can remember now the name of the tango with the bandoneon. This is Astor Piazzollo and the name of David's father, Del Pino [Spanish: pine], David Del Pino, which is Tannenbaum [German: fir tree]. The name of my conductor, which is a woman, Carmen Morales. Do you heard of her? [She is] extraordinaria [Spanish: extraordinary] because she studied operas. I made a list of all the solos I played under her. Good. So, what shall I say to you? I can't say that I have a preference of music. The new music I can't understand because they are combined with destruction. There shouldn't be. Always be with reconstruction and dances.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=441.0,721.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: I'm in second, like Victor Vargas. Yes, making fun. I like to play for myself. This is not ... I am not an original pianist, but I know how to play.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=721.0,737.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/transcript/74377/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: This has been an interview with Mrs. Yolanda Kronberger recorded on Monday, September the 16th, 1991, in Atlanta, Georgia, by Roots and Wings.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=737.0,3813.81"}]},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725","type":"AnnotationPage","label":{"en":["Annotations [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/118","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eLugoj is a city in eastern Romania on the Timis River. Lugoj was part of Hungary until 1918. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=22.0,159.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/119","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWorld War I, also called First World War or Great War, was an international conflict from 1914 to 1918 that embroiled most of the nations of Europe along with Russia, the United States, the Middle East, and other regions. The war pitted the Central Powers—mainly Germany, Austria-Hungary, and Turkey—against the Allies—mainly France, Great Britain, Russia, Italy, Japan, and, from 1917, the United States. It ended with the defeat of the Central Powers.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=22.0,159.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/120","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eEmil Szymon Mlynarski (1870-1935) was a Polish violinist, conductor and composer. He was the founding conductor of the Warsaw Philharmonic Orchestra and subsequently served as principal conductor of the Scottish Orchestra in Glasgow from 1910 to 1916.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=22.0,159.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/121","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eArtur Rubinstein (1887-1982) was a pianist born to a Jewish family in Lodz, Poland. During the First World War, Rubinstein was in London, England. He later immigrated to the United States. In 1932, he married Nela Mlynarska, the daughter of Polish conductor Emil Mlynarski.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=22.0,159.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/122","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eYolanda’s father, Wladyslaw Waghalter (1885-1940), was born in Warsaw, Poland, where he studied violin. In 1900, he came to Germany to study at the Hochschule für Musik [German: Academy of Music] in Berlin. In 1903, he was awarded the Mendelssohn Scholarship, which enabled him to continue his studies. The Mendelssohn Scholarship is a scholarship established in 1870 in honor of composer Felix Mendelssohn.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=163.0,208.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/123","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003ePrior to World War I, Poland was partitioned between the German, Russian and Austro-Hungarian empires. The city of Warsaw, where Yolanda’s father was from, was part of the Russian Empire, which had compulsory military service.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=163.0,208.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/124","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eYolanda’s paternal grandparents were Abram (or Adaś, a Ppolish form of Adam) Waghalter (1841-1905), a trumpeter, and Krussa (also Karolina or Carola) Waghalter née Szulc (also Szultz, Schultz or Shultze; 1841-1928), who was also a musician. The Waghalter and Szulc families were related through several marriages. According to one source (https://doi.org/10.3390/ genealogy7040087), Jozef Szulc (b. 1893) was a cousin and not a brother. However, Jozef was indeed a pianist who survived the Holocaust in Cairo, Egypt, where he founded a conservatory. His son, Roman Szulc, also survived the Holocaust by escaping to the United States in 1935. Roman was a timpanist with the Boston Symphony orchestra and had two sons—likely the relatives Yolanda is referring to. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=212.0,288.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/125","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eKlezmer is an instrumental musical tradition of the Ashkenazi Jews of Central and Eastern Europe. The essential elements of the tradition include dance tunes, ritual melodies, and virtuosic improvisations played for listening; these would have been played at weddings and other social functions. The musical genre incorporated elements of many other musical genres including Ottoman music, Baroque music, German and Slavic folk dances, and religious Jewish music. After the destruction of Jewish life in Eastern Europe during the Holocaust, and a general fall in the popularity of klezmer music in the United States, the music began to be popularized again in the late 1970’s in the so-called Klezmer Revival. During the 1980’s and onwards, musicians experimented with traditional and experimental forms of the genre, releasing fusion albums combining the genre with jazz, punk, and other styles.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=212.0,288.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/126","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Frederic Chopin Monument is a bronze statue of the Polish composer and pianist, erected in 1926. The original statue was destroyed in World War II but replaced in 1958.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=295.0,357.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/127","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eIn 1935, Yolanda competed in the Wieniawski International Violin Competition. The competition takes place every five years in Poznan, Poland, in honor of Polish violinist and composer Henryk Wieniawski (1835–1880).\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=295.0,357.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/128","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eCsárdás is a concert piece written in 1904 by Italian composer Vittorio Monti (1868-1922).\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=401.0,512.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/129","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBy September 1939, approximately 282,000 Jews had left Germany and 117,000 from annexed Austria. Of these, about 75,000 emigrated to Central and South America, with the largest numbers entering Argentina, Brazil, Chile, and Bolivia. Most Latin American nations were relatively open to immigrants until 1933. In the late 1930s, economic crises brought on by the Great Depression and growing antisemitism led many Latin American countries to tighten immigration laws (Mexico in 1937; Argentina in 1938; Cuba, Chile, Costa Rica, Colombia, Paraguay, and Uruguay in 1939). Latin American governments officially permitted only about 84,000 Jewish refugees to immigrate between 1933 and 1945, less than half the number admitted during the previous fifteen years. Others entered these countries through illegal channels. Between 1933 and 1939, between 15,000 and 20,000 Jews from Germany, Austria, and Czechoslovakia took advantage of Paraguay's liberal immigration laws to escape from Nazi-occupied Europe. Argentina, which had admitted 79,000 Jewish immigrants between 1918 and 1933, officially admitted only 24,000 between 1933 and 1943.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=401.0,512.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/130","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eAstor Pantaleon Piazzolla (1921-1992) was an Argentine composer, bandoneon player, and arranger. His works revolutionized the traditional tango into a new style termed “nuevo tango,” incorporating elements from jazz and classical music.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=401.0,512.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/131","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJohannes Brahms (1833-1897) was a German composer and pianist who wrote symphonies, concerti, chamber music, piano works, and choral compositions.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=838.0,893.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/132","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe International Red Cross set up a messaging service in 1936. The letters often took months to reach their recipients and letter writers were limited to 25 words on a standard form. Nonetheless, the letters enabled emigrants to stay in touch with relatives who had remained in Germany or its occupied territories. After 1940, it was forbidden to correspond by regular mail with countries at war with Germany, making the Red Cross the only intermediary able to deliver messages. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=894.0,991.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/133","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003e The Deutsches Opernhaus [German Opera House] opened in the Charlottenburg district of Berlin in 1912 with a performance of Beethoven’s Fidelio, conducted by Ignatz Waghalter (Yolanda’s uncle). Yolanda’s father was concertmaster at the opera house from 1912 until 1933, when all Jews were dismissed from the opera. Today, it is known as the Deutsche Oper Berlin [German Opera Berlin] and the building also houses the Berlin State Ballet.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1003.0,1038.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/134","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eRichard Wagner (1813-1883) was a German composer, theater director, and conductor who is primarily known for his operas, among them the four opera-cycle Der Ring des Nibelungen. Wagner has also been accused of being an antisemite, mostly particularly based in his non-opera writings. Adolf Hitler was an admirer of Wagner’s music and saw in his operas an embodiment of his own vision of the German nation claiming that they glorified “the heroic Teutonic nature.” Hitler visited Bayreuth (Wagner’s own opera house) from 1923 onwards and attended the productions at the theater. There continues to be debate about the extent to which Wagner’s views might have influenced Nazi thinking. However, it cannot be claimed that Wagner “was responsible” for the Holocaust.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1003.0,1038.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/135","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eLudwig van Beethoven (1770-1827) was a German composer, widely considered to be one of the most famous and influential of all composers. Fidelio is the sole opera by Beethoven.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1150.0,1207.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/136","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eGiacomo Antonio Domenico Michele Secondo Maria Puccini (1858-1924) was an Italian composer known primarily for his operas. La fanciulla del West was written in 1910.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1150.0,1207.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/137","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWladyslaw Waghalter performed as a soloist and in a chamber music ensemble, including from 1919 as first violinist of the Waghalter Quartet with Alfred Kolb (2nd violin), Emil Kornsand (viola) and Hans Kraus (cello).\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1150.0,1207.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/138","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWilhelm Backhaus (1884–1969) was a German pianist, well-known for his interpretations of Mozart, Beethoven, Schumann, Chopin and Brahms. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1212.0,1327.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/139","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eDuring World War I, all able-bodied German men aged 17-45 were required to serve in the military. Some 700,000 Poles were also conscripted into the German Army. Yolanda seems to be saying that her father agreed to fight for Germany rather than be imprisoned and was awarded German citizenship as a result.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1212.0,1327.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/140","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eYolanda may be referring to Spandau Prison rather than Spandau Citadel. The Spandau Citadel is a massive 16th century fortress in Berlin. During World War I, it was used to store Imperial War Treasure. The Spandau Prison was built as a Prussian military detention center in 1876 and later also housed civilian and political prisoners. \u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1212.0,1327.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/141","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWilhelm Walter Friedrich Kempff (1995-1991) was a German pianist and composer.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1327.0,1374.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/142","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eNazi leaders began to make good on their pledge to persecute German Jews soon after their assumption of power. Organized attacks on Jews began in March 1933, just weeks after Hitler assumed power. In April, a general boycott against German Jews was declared. SA members stood outside Jewish-owned stores and businesses to prevent customers from entering. A week later, the first of multiple laws which banished Jews from the civil service, judicial system, public medicine, and the German army were passed. Ceremonial public burnings of books by Jewish authors took place throughout Germany. Increasingly restrictive decrees targeted Jews at all levels of society. Jews were banned from universities; Jewish actors were dismissed from theaters; publishers rejected Jewish authors and journalists. The exclusion of Jews from German cultural life was highly visible, ousting their considerable contribution to the German press, literature, theater, and music. In September 1935, the “Nuremberg Laws” were passed, stripping Jews of their citizenship and forbidding intermarriage between Jews and non-Jews. Jews were increasingly isolated and ousted from German life. By the outbreak of war in 1939, more than 400 decrees and regulations restricted all aspects of their public and private lives.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1379.0,1631.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/143","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJacques Thibaud (1880-1953) was a French violinist.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1379.0,1631.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/144","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eOrthodox Judaism is a traditional branch of Judaism that strictly follows the written Torah and the oral law concerning prayer, dress, food, sex, family relations, social behavior, the Sabbath day, holidays, and more.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1379.0,1631.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/145","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Jüdische Kulturbund [German: Jewish Cultural Association; also Juedische Kulturbund] was created in Berlin, Germany in 1933 after the Nazi regime dismissed Jewish teachers, artists, musicians, performers, and authors from their jobs. It was the only organization where Jews were allowed to participate as performers and as audience members. Although it was under intense scrutiny and censorship by Nazi authorities, the Kulturbund provided tens of thousands of Jews both employment and an opportunity to remain creative and productive amidst increasing persecution. Until around 1937, the Kulturbund put on theatrical performances, concerts, exhibitions, operas and lectures all over Germany. It was disbanded completely in September 1941.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1379.0,1631.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/146","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eIn January 1933 there were approximately 523,000 Jews in Germany. Approximately 304,000 German Jews emigrated during the first six years of the Nazi dictatorship. When the Nazis came to power, there was an initial wave of emigration, mostly to neighboring European countries, which would later be occupied by the Nazis. In 1938—especially after Kristallnacht—Jewish emigration increased dramatically. Only about 202,000 Jews remained in Germany by the end of 1939. By October 1941, when Jewish emigration was officially forbidden, the number of Jews in Germany had declined to 163,000. Until October 1941, German policy officially encouraged Jewish emigration. However, American immigration quotas and the increasing reluctance of European and British Commonwealth countries to accept additional Jewish refugees combined with increasingly restrictive German policies to make emigration increasingly difficult.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1379.0,1631.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/147","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eWorld War II officially began in Europe when Germany invaded Poland on September 1, 1939.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1634.0,1694.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/148","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eOn November 8 and 9, 1938, the Nazis started a state-sponsored nationwide pogrom. Across the country (and in Austria) Jewish synagogues, homes and businesses were looted and burned, Jews were attacked on the streets and 91 were killed. Thousands of Jewish men were sent to concentration camps for several weeks and released only when they agreed to leave the country as soon as possible. The Jews were made to pay for the damages to their premises. The pogrom was called “Kristallnacht,” which means “Night of Broken Glass,” because of all the damage done to Jewish shop windows. Thousands of German Jews and close to 6,000 Austrian Jews were arrested after Kristallnacht and deported to the Dachau or Buchenwald concentration camps in Germany. Most were released within a few weeks, but only if they promised to immigrate immediately, leaving their property behind.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1634.0,1694.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/149","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe Orazio was an Italian ocean liner launched in 1927. In January 1940, it set sail from Genoa, Italy, headed for Central America. On January 22, it was in the Mediterranean, about 100 miles from Toulon, France when it caught fire due to an engine failure and explosion. Of the 645 people on board, 108 died. The survivors were rescued by various nearby ships. The Orazio sank the next day.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1696.0,1933.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/150","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eNiccolò (or Nicolò) Paganini (1782-1840) was an Italian violinist and composer who was born in Genoa.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1696.0,1933.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/151","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eThe cost for Jews to leave Germany was increasingly and prohibitively high in the years leading up to World War II. Most of the German Jews who managed to emigrate after Kristallnacht were completely impoverished by the time they were able to leave. To further pay the various taxes and restrictions imposed on Jews leaving Germany and the high cost of emigration, many Jews were forced to sell their real estate, possessions, and other assets for far less than their actual worth. To keep the purchase and sale of Jewish property and assets “legal,” local currency offices policed emigration. German authorities considered Jewish belongings and their financial capital to German property and Jews who emigrated were not allowed to take anything of material value with them. The amount of currency (10 Reichmarks, or about US $4) and assets Jews were allowed to take out of Germany was also highly restricted.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1696.0,1933.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/152","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eA Stradivarius is one of the string instruments, such as violins, violas, cellos, and guitars, crafted by members of the Stradivari family in Italy during the late 17th and early 18th centuries. Known for their craftsmanship, tonal quality, and legacy, Stradivarius instruments are considered some of the finest ever made. Stradivarius violins are particularly coveted by musicians and collectors and often sell for millions of dollars.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1696.0,1933.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/153","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJohann Sebastian Bach (1685-1750) was a German composer and musician of the Baroque period.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=1967.0,2123.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/154","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eCasa Ricordi is a publisher of primarily classical music and opera that was founded in Milan, Italy in 1808.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2321.0,2568.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/155","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eYolanda’s sister, Ruth Waghalter Mueller (b. 1914), and her mother, Johanna Neumanovics Waghalter (b. 1883), were deported to Auschwitz-Birkenau on January 29, 1943, and presumably murdered.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2576.0,2895.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/156","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJosé María Velasco Maidana (1899-1989) was a Bolivian film director, composer, conductor, actor, painter and dancer. He was the estranged son of a Bolivian president. He was married to Texas painter, Dorothy Hood, and later immigrated to the United States.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=2904.0,3097.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/157","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eYolanda may be referring to Hiram (Harry) Bingham IV (1903-1988) here. Bingham was an American diplomat who served as served as a Vice Consul in Marseille, France from 1937 to 1941. Along with an underground network led by Varian Fry and several humanitarian organizations, Bingham helped at least 2,500 Jews escape Vichy France. Despite strict immigration quotas and at risk to his career, Bingham was known to liberally issue visas to Jewish refugees.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3168.0,3211.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/158","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eTheo Buchwald (1902-1960) was a conductor born in Vienna, Austria. After the Nazis came to power, he fled to South American in 1935. He conducted in Chile and later moved to Peru, where he was entrusted by the government with creating the National Symphony Orchestra in Lima in 1938.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3216.0,3336.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1725/annotation/159","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eBronislaw Mitman (1901-1954) was a Jewish violinist from Warsaw, Poland. He immigrated to South America in 1938 and became the concertmaster of the newly created National Symphony Orchestra of Peru.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=3216.0,3336.0"}]},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726","type":"AnnotationPage","label":{"en":["Annotations [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/160","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJames Isaac Loeb, Jr. (1909–1992) was a 20th-century American politician. He served as National director for Union for Democratic Action (1945-47) and Americans for Democratic Action (1947-51); Consultant to President Harry S. Truman's special counsel (1951-52); Executive Assistant to Governor W. Averell Harriman (1952); U.S. Ambassador to Peru (1961-62); and Ambassador to Guinea (1963-65). He was married to Ellen Katz Loeb, who was a violinist, from 1932 until 1970.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=24.0,110.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/161","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eFernando Sergio Marcelo Marcos Belaúnde Terry (1912-2002) was a Peruvian architect and politician who twice served as President of Peru. He was first elected in 1963, after a 1962 military coup deposed his predecessor. Belaunde served until 1968, when he too was deposed in a coup. He was re-elected in 1980 after 12 years of military rule.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=111.0,246.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/162","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eJorge Mario Pedro Vargas Llosa, 1st Marquess of Vargas Llosa, more commonly known as Mario Vargas Llosa, is a Peruvian novelist, journalist, essayist and former politician born in 1936.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=111.0,246.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/163","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eOn October 3, 1968, General Juan Velasco Alvarado seized power from President Fernando Belaunde Terry in a bloodless coup. The primary motives for the coup were political disputes and concern that scandals in Belaunde’s administration would allow the leader of another party hated by the military to seize power. Following the coup, Peru was ruled by the Revolutionary Government of the Armed Forces, a dictatorship that remained in power until 1980.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=111.0,246.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/164","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eRosh HaShanah [Hebrew: head of the year] begins the cycle of High Holy Days. It introduces the Ten Days of Penitence, when Jews examine their souls and take stock of their actions. On the tenth day is Yom Kippur, the Day of Atonement. The tradition is that on Rosh HaShanah, G-d sits in judgment on humanity. Then, the fate of every living creature is inscribed in the Book of Life or the Book of Death. Prayer and repentance before the sealing of the books on Yom Kippurmay revoke these decisions.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=361.0,434.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/165","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eYom Kippur [Hebrew: day of atonement] is the most sacred day of the Jewish year. Yom Kippur is a 25-hour fast day. Most of the day is spent in prayer, reciting yizkor for deceased relatives, confessing sins, requesting divine forgiveness, and listening to Torah readings and sermons. People greet each other with the wish that they may be sealed in the heavenly book for a good year ahead. The day ends with the blowing of the shofar (a ram’s horn).\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=361.0,434.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/166","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eCarmen Moral is an orchestra conductor and teaches conducting at Berklee College of Music in Boston, Massachusetts. She is the first woman to serve as music director of an orchestra in Latin America and has been named \"Conductor Emeritus\" of the National Symphony Orchestra of Peru.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=441.0,721.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/167","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eVictor Vargas is a Columbian violinist and conductor.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=721.0,737.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812/annotation_set/1726/annotation/168","type":"Annotation","motivation":"supplementing","body":{"type":"TextualBody","value":"\u003cp\u003eRoots and Wings Life Stories is an Atlanta, Georgia based video production company founded in the early 1990s by Sara Ghitis and Audrey Galex.\u003c/p\u003e","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256812#t=737.0,3813.81"}]}]},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811","type":"Canvas","label":{"en":["Media File 2 of 2 - Kronberger__Yolanda_2.mp4"]},"duration":924.19,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/256/811/small/Kronberger_Yolanda2.mp4_1731677089.jpg?1731677090","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/content/1","type":"AnnotationPage","items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/content/2/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-thebreman.s3.wasabisys.com/collection_resource_files/resource_files/000/256/811/original/Kronberger__Yolanda_2.mp4?1731677088","type":"Video","format":"video/mp4","duration":924.19,"width":640,"height":360},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811","metadata":[]}]}],"annotations":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593","type":"AnnotationPage","label":{"en":["Kronberger, Yolanda_Part 2 [Transcript]"]},"items":[{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: He didn't come to the Hochschule [German: university or college] of music, so I promised myself. [I said,] \"Father,\" of course it made him happy, yes, \"I never will study with anybody; only with yourself.\"","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=1.0,19.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Is there something you want to tell your children and your grandchildren?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=19.0,24.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Both have the enormous gift to have a good ear. This I discovered recently because clear as a bell, they are singing all the commercials and they are recommending me that I must give them time to study evenly, if they have time. Don't lose hope. If you are not engaged, don't lose hope. Somebody discovers it and [even] if it's only one person who discovers you. The best thing that happened to me when in the year when I was 60 years. I don't know if I told you about it. There came an ambassador. His name was James Loeb and his wife [Anna Frank Loeb] studied in Cleveland [Ohio] music. She was the violist in our feminine orchestra, which traveled for the [unintelligible]. No, for the jungle. You knew this?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=24.0,110.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: No, I did not.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=110.0,111.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, it's [unintelligible]. This was quite interesting. Just before the architect, [Fernando] Belaunde, was elected, we went from one point in Peru to the other, with the exception of Cajamarca [Peru], which we never came. The last trip which I had with them was on the Amazon River. We embarked in a ship, [an] American gunboat, and we came to Iquitos [Peru] over to Pucallpa [Peru] only playing string quartet, feminine quartet. This made me really famous because there in the jungle, you have only radio, no television. Now, we have radio and now, today we have radio in every point. I was very happy with your book. You will surely read this with Mario Vargas Llosa. But on the boat we tried to rehearse. It was not possible. But this whole thing happened, he could join us very near the machinery to rehearse the quartets of Brahms, which we wanted to perform later on. It was not possible. We had to return because the revolution again was on. It is very hard to play in the revolution, but if I think of Beethoven, he was in the 30 years of his composing Beethoven and there was always war on. But you write, you write good music, bad music, and then you write.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=111.0,246.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Do you have any regrets?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=246.0,249.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Regrets of what? Maybe there are some moments which I ... But in ... That is my weakest point. I can't stand a false note. This is ... I can't always say what I want to say. In the last minute, before I came this year, I was very happy to get a green card. Everything's reminded me and I have more time for myself, which you don't have if you are running a household.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=249.0,296.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: How would you like people to think about you?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=296.0,302.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: I am not so very proud. It's an outside; it's not the inside of [unintelligible]. They try to please you and I never will forget. This is most important. I wanted that everybody who comes to United States, which has the incredible possibility to move in freedom ... This I cherish. You can openly speak even if it's not pleasant. But you will have the freedom here, which is still there, I always pray not to lose. And this gives us hope.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=302.0,356.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: What would you like to play for us now?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=356.0,361.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: What shall I do? They seem to be very religious and it's made a good impression. Even being a Jew, when I ask for permission to leave on Rosh HaShanah or Yom Kippur, the orchestra--because we always have performance even on Friday, so I can't go to my synagogue in Peru--they give me always permission because I openly asked on religious ground. This is too a democratic move, yes, as we say, under my conductors, who ... They all are Catholic with the exception of the guest conductor. But we think we should try to get together all religions.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=361.0,434.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Would you like to play something for us now?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=434.0,437.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: What would you like to hear?","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=437.0,439.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: Anything you would like to play.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=439.0,441.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: Yes, I can remember now the name of the tango with the bandoneon. This is Astor Piazzollo and the name of David's father, Del Pino [Spanish: pine], David Del Pino, which is Tannenbaum [German: fir tree]. The name of my conductor, which is a woman, Carmen Morales. Do you heard of her? [She is] extraordinaria [Spanish: extraordinary] because she studied operas. I made a list of all the solos I played under her. Good. So, what shall I say to you? I can't say that I have a preference of music. The new music I can't understand because they are combined with destruction. There shouldn't be. Always be with reconstruction and dances.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=441.0,721.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Kronberger: I'm in second, like Victor Vargas. Yes, making fun. I like to play for myself. This is not ... I am not an original pianist, but I know how to play.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=721.0,737.0"},{"id":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811/transcript/72593/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Ghitis: This has been an interview with Mrs. Yolanda Kronberger recorded on Monday, September the 16th, 1991, in Atlanta, Georgia, by Roots and Wings.","format":"text/plain"},"target":"https://thebreman.aviaryplatform.com/collections/994/collection_resources/138461/file/256811#t=737.0,924.19"}]}]}]}