Herman Berlinski
Herman Berlinski was a German-born American composer, organist, pianist, musicologist and choir conductor.
Life
Family background; early upbringing
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.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 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.
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.
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.
Tertiary music studies in Leipzig
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, Sigfrid Karg-Elert, Günther Raphael and Max Hochkofler. 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.
Emigration to Paris; further music studies; professional involvement
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 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.
Military service in France; Nazi invasion; escape to the United States
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.In 1940, after the surrender of France to the Germans, the newly established Vichy régime collaborated with the invaders by declaring certain groups including Freemasons, Communists and Jews as "undesirables". Thus, when Berlinski was demobilized in that same year, he received a certificate which declared him to be a "foreigner who had no right to work in France."
Facing the high risk of internment, Berlinski and his wife obtained visas and finally sailed to the United States, arriving in 1941. With them, they took only fragments of the compositions that he had written for the Yiddish theatre which they had been able to save from their ransacked Paris home. He would eventually draw on this material for works that he wrote after arriving in New York.
Life in New York City; advanced studies; professional development and career change
In New York City, Berlinski was reunited with his father who had escaped earlier from Germany, and other family members who had migrated from Łódź and were living in New Jersey. Herman and Sina Berlinski settled in Manhattan and their son David was born there in 1942. Berlinski first earned a living by giving private piano lessons, and quickly made contact with the city's large Jewish community.A significant event in Berlinski's professional development was a meeting with Moshe Rudinow who was at that time cantor of New York's Temple Emanu-El, one of the city's leading Reform synagogues. Through Rudinow he was introduced to the then-named Jewish Music Forum, a body which was set up to promote the study and analysis of all aspects of Jewish music and to organize the performance of new music, and he became an invited member in 1944. There he met key musicians, composers and musicologists including Lazar Weiner, Joseph Yasser, Abraham Wolfe Binder and Lazare Saminsky. He also heard there the then young and relatively unknown Leonard Bernstein performing his new works including a piano reduction of his first symphony. He studied composition with Messiaen at the 1948 Tanglewood Music Center and gained from him an understanding of rhythmic and harmonic techniques which would affect his approach to using Jewish melodic forms in his later works.
A change in Berlinski's career occurred in 1951 when Yasser offered him organ lessons. As a result, he quickly demonstrated skill both as a recitalist and as a liturgical organist, setting the direction for the future both in terms of his professional appointments and the types of works which he composed. By 1954 he had been appointed as assistant organist at Emanu-El working with Saminsky as music director. He gave his first public recital the following year. He served there for a total of eight years, during which time he composed many works including choral and other liturgical music as well as organ pieces.
In 1953, while continuing his organ studies with Yasser, Berlinski undertook postgraduate studies at the Jewish Theological Seminary of America where he engaged in a musicological analysis of the origins and practices of ancient Jewish music. He also studied composition with Hugo Weisgall, an experienced composer who was descended from a long line of cantors and was interested in both sacred and secular Jewish music. Working with Weisgall and in the climate of the seminary provided an ideal stimulus for Berlinski to further explore and express his Jewish background, which in turn became more recognizable in his music.
Having completed his master's degree program at JTSA, Berlinski undertook doctoral studies in composition there. A major setback occurred in 1958 when he had a heart attack from which he made recovery and was able to complete his doctorate in 1960. This made him the first person to be awarded a doctorate in sacred music by that institution.