Herman Berlinski

Before he was born, Herman Berlinski's parents, Boris and Deborah Wygodzki Berlinski lived in the Jewish community of Łódź at the time when civil and political unrest was well underway in Russia from 1905, and growing discontent in Poland against the Russian rule had led to many uprisings.

The largest of these, commonly called the June Days Uprising or the 1905 Łódź insurrection, took place in that same year.

Herman Berlinski (18 August 1910 – 27 September 2001) was a German-born American composer, organist, pianist, musicologist and choir conductor.

Herman Berlinski, born there on 18 August 1910, was the last of six children.

They were brought up in the Ashkenazic tradition of Orthodox Judaism and they spoke Yiddish at home.

Their mother arranged piano lessons for each of them, Herman's starting at age six.

He was educated at the Ephraim Carlebach School, Leipzig's only Jewish school at that time.

At that point, the Berlinskis fled to Leipzig, where they remained after the end of World War I, for although Poland was reconstituted in 1918, turmoil between Poland and the Soviet States of Russia and the Ukraine continued until early 1921 as Russia attempted to reclaim the territory that had belonged to it in the days of the empire.

Furthermore, by contrast with the relative poverty he had experienced working as a factory labourer in Łódź, Boris Berlinski had been able to gain a stable income in Leipzig from haberdashery.

In any case, as Poland had regained its independent statehood, the Berlinskis retained their Polish nationality rather than facing the increasingly difficult task foreigners had in gaining German citizenship at that time, and with success made even less likely because they were Jews.

In fact there was a strong probability, based on the experience of others, that the German authorities would classify them as "stateless", thereby stripping them of any citizenship and eliminating any rights they had as foreigners legally resident in the country.

Deborah Berlinski died in 1920 leaving the children in the care of their father who never remarried.

After observing the formal mourning period called shneim asar chodesh, Herman began private piano lessons under Bronya Gottlieb, a Polish-born woman and a gifted graduate of the Leipzig Conservatory.

Having shown early talent in music and after winning a clarinet scholarship, Herman Berlinski commenced study at the Leipzig Conservatory in 1926 at the age of 17.

His first year majors were clarinet and conducting, with piano as his minor.

The following year he changed his major to piano, with theory as his minor.

His teachers there included Otto Weinreich (piano), Sigfrid Karg-Elert (theory), Günther Raphael (counterpoint) and Max Hochkofler (conducting).

Fellow students included the Norwegian composer Geirr Tviett, and it is a sign of Berlinski's skills as a pianist that he gave the premiere performance in 1931 of Tveitt's dynamic First Piano Concerto.

He graduated in 1932 with an honours degree.

In the context of Leipzig's long involvement with European music, the strongest influences at that time on Berlinski's own composition style were J.S. Bach, Gustav Mahler and Max Reger.

His initial exposure to Lutheran liturgical music and the organ arose from attending Friday evening concerts at Leipzig's Thomaskirche where he heard repertoire largely centred on the period from J.S. Bach to Reger.

Having overheard Berlinski rehearsing Bach's Goldberg Variations on the piano, Karl Straube, then cantor at the Thomaskirche and professor of organ at the Institut der Evangelisch-Lutherischen Landeskirche Sachsen, offered him organ lessons at the institute.

But because it was a prerequisite that Berlinski become a Christian to have access to this program, and as he was not prepared to take that step, the idea proceeded no further.

As the National Socialist party gained power in German politics, general restrictions, including their involvement in the arts, were imposed upon the Jews.

In 1933, having gained a Polish passport at his father's urging, Berlinski returned to Łódź.

However, he found himself disadvantaged by being unable to speak Polish, and he was greatly disheartened by the misery of the Jewish community within which he was living.

Finally, when called up for military service, he fled to Paris.

He was then joined by Sina Goldfein, a former fellow-student both at school and the Leipzig Conservatory, herself a pianist and singer.

They were married in 1934.

Soon after arriving in Paris, Berlinski enrolled at the École Normale de Musique and studied composition with Nadia Boulanger and piano with Alfred Cortot.

Although he valued Boulanger's training, Berlinski eventually found some of her musical ideas incompatible with his own, discontinued studies with her after two years, and enrolled at the Schola Cantorum of Paris where he studied Jewish liturgical music with the Sephardic synagogue composer Léon Algazi and composition with Jean-Yves Daniel-Lesur.

Through Daniel-Lesur he met other young composers who were members of the group called La jeune France.

Most influential were Daniel-Lesur himself and Olivier Messiaen who, although strongly inspired by their Catholic background, encouraged Berlinski to explore and express his Jewish heritage.

From 1934 onwards, Berlinski became involved with a Jewish art theatre group known as the Paris Yiddish Avant-Garde Theatre (PIAT or PYAT) and made up largely of immigrants formerly involved with Yiddish theatre in Vilna.

Their repertoire ranged from works by Jewish playwrights such as Sholem Aleichem and Isaac Leib Peretz to classic Russian plays presented in Yiddish translation.

He was soon appointed as music director, a role in which he continued until 1939, and for this group he directed plays or conducted, performed, arranged and composed incidental music.

In this context, Berlinski met many Polish, Lithuanian and Ukrainian Jews who had been driven out of their own countries.

This was highly influential on the development of his own music style and introduced him to many themes and ideas which he later explored in his compositions.

With the outbreak of World War II in 1939, Berlinski offered to enter military service and joined the French Foreign Legion.

At the end of almost a year, he was one of only 250 survivors out of 1,250 who had been assigned to battle on the Belgian border.