{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://milken.aviaryplatform.com/iiif/qj77s7jj5r/manifest","type":"Manifest","label":{"en":["Rosenblatt, Henry"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","metadata":[{"label":{"en":["Preferred Citation"]},"value":{"en":["\u003cp\u003eRosenblatt, Henry. 1999. Interview by Neil Levin. Milken Archive Oral History Project. 23 April.\u003c/p\u003e"]}},{"label":{"en":["Publisher"]},"value":{"en":["Milken Family Foundation"]}},{"label":{"en":["Rights Statement"]},"value":{"en":["\u003cp\u003e© Milken Family Foundation. Unauthorized use is prohibited. For inquiries, please contact info@milkenarchive.org.\u003c/p\u003e"]}},{"label":{"en":["Agent"]},"value":{"en":["Levin, Neil (Interviewer)","Serota, Barry (Interviewer)","Gildar, Daniel (Interviewer)","Rosenblatt, Henry (Singer)"]}},{"label":{"en":["Date"]},"value":{"en":["1995-01-25"]}},{"label":{"en":["Coverage"]},"value":{"en":["New York, NY (Place of Recording)"]}},{"label":{"en":["Language"]},"value":{"en":["English (Primary)"]}},{"label":{"en":["Description"]},"value":{"en":["\u003cp\u003eOral history interview with Henry Rosenblatt, opera singer and son of Yossele Rosenblatt. Their relationship is discussed in particular detail, and Henry provides biographical information and various anecdotes from his childhood, including many famed cantors he sang with in his father's synagogue, Ohab Zedek. Additional topics discussed include the making of his father's early recordings, various compositions and arrangments, and his role in \u003cem\u003eThe Jazz Singer\u003c/em\u003e. Henry's own life is also discussed and includes his work with Arturo Toscanini, among others. The interview concludes with a discussion of the process of publishing some of his father’s music, and a sung performance of \u003cem\u003eAkavyo ben Mahalal’el Omer\u003c/em\u003e.\u003c/p\u003e"]}},{"label":{"en":["Format"]},"value":{"en":["Beta SP"]}},{"label":{"en":["Subject"]},"value":{"en":["Synagogue music (Topical Term)","Jews—Music (Topical Term)","Opera--20th century (Topical Term)","Motion picture music (Topical Term)","Musical films (Topical Term)","Cantors (Judaism) (Topical Term)","Rosenblatt, Josef, 1882-1933 (Person or Corporate Body)","Toscanini, Arturo, 1867-1957 (Person or Corporate Body)"]}},{"label":{"en":["Keyword"]},"value":{"en":["Al Jolson (1886-1950), Arturo Toscanini (1867-1957), Berele Chagy (1892-1954), cantor, Chicago—Illinois, Chicago Civic Opera Company, choir, Columbia Records, conducting, Enrico Caruso (1873-1921), Ernest Bloch (1880-1959), George London (1920-1985), Hasidic Judaism, Hebrew Technical Institute (New York), Herman Wohl (1877-1936), improvisation, Isadore Freed (1900-1960), Israel, Israel Schorr (1886-1935), Jan Peerce (1904-1984), Jerusalem—Israel, Jewish Ministers Cantors Association, John McCormack (1884-1945), Joseph Brody (1877-1937), Leonard Warren (1911-1960), Long Branch (New Jersey), Luisa Tetrazzini (1871-1940), MacArthur Foundation, Metropolitan Opera, Meyer Machtenberg (1884-1979), Meyer Posner (1890-1931), Mordecai Hershman (1888-1940), music theory, Nathaniel Shilkret (1889-1982), Nellie Melba (1861-1931), New York (New York), nussach, Ohab Zedek (New York), opera, Palestine, phonograph, Pierre Pinchik (1900-1971), Plácido Domingo (b. 1941), Radio City Music Hall (New York), Richard Tucker (1913-1975), Rosa Raisa (1893-1963), Salomon Sulzer (1804-1890), Samuel Malavsky (1894-1983), synagogue, The Jazz Singer, The Voice of Israel, Thomas Edison (1847-1931), University of Jerusalem, Victor Records, voice, yiddish, Yossele Rosenblatt (1882-1933), Zavel Kwartin (1874-1952)"]}}],"summary":{"en":["\u003cp\u003eOral history interview with Henry Rosenblatt, opera singer and son of Yossele Rosenblatt. Their relationship is discussed in particular detail, and Henry provides biographical information and various anecdotes from his childhood, including many famed cantors he sang with in his father's synagogue, Ohab Zedek. Additional topics discussed include the making of his father's early recordings, various compositions and arrangments, and his role in \u003cem\u003eThe Jazz Singer\u003c/em\u003e. Henry's own life is also discussed and includes his work with Arturo Toscanini, among others. The interview concludes with a discussion of the process of publishing some of his father\u0026rsquo;s music, and a sung performance of \u003cem\u003eAkavyo ben Mahalal\u0026rsquo;el Omer\u003c/em\u003e.\u003c/p\u003e"]},"requiredStatement":{"label":{"en":["Attribution"]},"value":{"en":["\u003cp\u003e\u0026copy; Milken Family Foundation. Unauthorized use is prohibited. For inquiries, please contact info@milkenarchive.org.\u003c/p\u003e"]}},"provider":[{"id":"https://milken.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"homepage":[{"id":"https://milken.aviaryplatform.com/","type":"Text","label":{"en":["Lowell Milken Center for Music of American Jewish Experience"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/115/original/Boxed_Milken_Center_logo.png?1628711583","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/111/801/small/Rosenblatt.jpg?1621426427","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801","type":"Canvas","label":{"en":["Media File 1 of 1 - 13085_Henry_Rosenblatt.mp4"]},"duration":5774.08,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/111/801/small/Rosenblatt.jpg?1621426427","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/content/1","type":"AnnotationPage","items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-milken.s3.wasabisys.com/collection_resource_files/resource_files/000/111/801/original/13085_Henry_Rosenblatt.mp4?1619137436","type":"Video","format":"video/mp4","duration":5774.08,"width":640,"height":360},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801","metadata":[]}]}],"annotations":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663","type":"AnnotationPage","label":{"en":["Rosenblatt_Henry [Transcript]"]},"items":[{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  We’re now sitting in the apartment of Cantor Henry Rosenblatt, the son of the illustrious Yossele Rosenblatt, olav hashalom, in the Ansonia Hotel in New York.  And I came up with this idea as an opening statement for the video, is that Caruso, the great operatic tenor, always visited the Rosenblatt home, years ago.  And now, Cantor Henry Rosenblatt is living in the Caruso home.  So it’s interesting the way things — this is the apartment that was occupied by Caruso at one time.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=16.0,47.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR: And now, so that the tables have turned now.  Instead of Caruso visiting Rosenblatt, Rosenblatt is living in Caruso’s apartment, which I felt is very interesting.  So, that’s a nice introduction.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=47.0,58.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  I think what we’d like to do is discuss your life and the life of your father.  You being a great singer and a great artist, and your father being, I believe, the most famous cantor of the century.  I think no one would disagree with that, that statement.  You were born where?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Hamburg, Germany.\u003cbr\u003e\u003cbr\u003eGILDAR:  Hamburg.\u003cbr\u003e\u003cbr\u003eSEROTA:  Hamburg, Germany.\u003cbr\u003e\u003cbr\u003e","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=58.0,81.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  That’s where my father was cantor.\u003cbr\u003e\u003cbr\u003eSEROTA:  And how old were you when you came to America?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Four years old.\u003cbr\u003e\u003cbr\u003eSEROTA:  So you really don’t have strong memories of Europe.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.\u003cbr\u003e\u003cbr\u003eSEROTA:  When did you first become conscious, conscious of the fact that your father was celebrated as a, as a cantor?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=81.0,98.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: It was difficult for me to accept his celebrity, and him being a celebrity, for one reason.  It was my father.  If I wanted to go to Europe, I thought, from a monetary standpoint, I’d go, “Pop, I want money.  I want to go to Europe.”  He never refused.  I want to go here, I want to go there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=98.0,115.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But to me, he was my father.  He treated me like a father.  And so, it was difficult. Of course, in later years, I began to realize, I mean, how my people, our people in general felt about my Dad, and realizing it.  But to me, he still was my, he was still my father.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=115.0,131.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He was so simple, he was so wonderful.  In so many different ways.  And he had a heart of gold.  He would go in the subway trains, or someone would say to him, “You take the subways.”  They said, “Look, you could afford a limousine car.”  My father says, “The subway train is faster.”  He liked the idea.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=131.0,150.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he was always busy, he was always walking very, very quickly.  He had those very quick steps. But at home, I mean, to him, his children were really very important, although he was away a great deal.  And the one who really ran my home was my mother.  I mean, she was practically, I would say, the disciplinarian as well.  But this is what we had.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=150.0,171.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  When you were a child, was there evidence of your having musical talent?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, yes.  I didn’t feel so. We had our home, some home in Long Branch, New Jersey.  It was a three-, four-story building.  The family didn’t like the mountains.  So we went to the beach, to the shore.  In those days, Long Branch was the summer place.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=171.0,196.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In the morning, the family would go to the beach.  We’d come home for lunch — we were only a half block away from the beach.  And after lunch, we’d go back to the beach again.  Came to the afternoon — and of course, in those days, the phonograph was a wind wheel.  You wound the wheel, and the record played.  There’s no such thing as hi-fi, and no one ever heard of a thing like that in those days.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=196.0,222.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And my dad, during the summer, when we were entertaining, even though he was very often on a concert tour.  I would take, would listen, we would listen to Caruso, Melba, Tetrocini, all these people that came to my home.  See, I was brought up with these people. So I took the phonograph and I said to my mother one afternoon, I said, “No, I’m not in the mood of going to the beach.”  I said, “I just want to stay home.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=222.0,242.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My father always had two, three, four, five guests during the summertime that we invited to stay with us for a week, so then they’d go their way. I took the phonograph with the records, and I sneaked up into the attic.  So I went up to the attic, so then no one would hear me, no one would bother me.  And I’d put on all these records and sing my brains out for a couple of hours.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=242.0,272.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One day, I was really singing very heavily.  I was finished.  I figured the people are still, the friends are still at the beach.  And I closed the box — that’s all it was, the recording.  And I came towards the door, I was getting ready to open up the door, and there were all the people, including my, our whole family, standing from the second to the third floor, and they were applauding like mad.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=272.0,294.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I thought they were making fun of me.  So I started to cry.  I must have been about ten years old, 11 years old.  And my mother grabbed a hold of me, she says, “No.”  She says, “You’re going to be a singer.”\u003cbr\u003e\u003cbr\u003eSEROTA:  As a child, did you sing in the choir in your father’s synagogue?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yes, I sang in the choir. And the first time when I walked to the choir, I didn’t know where the basses were or the altos were or the sopranos were, either.\u003cbr\u003e\u003cbr\u003eSEROTA:  How old were you then, when you began?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Also around the age of nine, ten.  And never stopped singing, then, but I didn’t have any idea that I was going to go into the, I mean, become a singer.  It was so remote.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=294.0,327.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Now my idea of, my education was I was very much interested, and I did, I went Cooper Union.  I went to the Hebrew Technical Institute.  I wanted to become a mechanical engineer.  I was always fascinated by architecture.  Anything that a piece of machinery, anything that rolled — this is what I was interested in.  And funny thing is, as a kid — I mean, I admit it — when I saw an ugly building, I wouldn’t walk on that side of the street.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=327.0,350.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  How many years did you sing in the choir in Ohab Zedek?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, on and off.  I don’t think I sang too, too many years, but I would say about a good ten years, on and off.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=350.0,359.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA: Why was Chagy a guest cantor in your father’s synagogue?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=359.0,377.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Well, he was a guest cantor.  Many people, so was Sirota and so was even Bachman was a guest cantor of my father.  When he wasn’t there, the hazzan sheini took over.\u003cbr\u003e\u003cbr\u003eSEROTA:  I see.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Cantor Taub took over.  He was both a shammes, and he, he was also the baal korei, and so forth.  That’s what happened.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=377.0,394.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Who conducted when you sang in the choir?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  It was Herman Wohl, from the Jewish theater.  W-O-H-L.  Herman Wohl.\u003cbr\u003e\u003cbr\u003eSEROTA:  What sort of conductor was he?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He was very fine.  A very fine conductor.  There was Meyer Machtenberg, who I liked very, very much.  Machtenberg was quite a musician.  And there was also Brody, for a short while.\u003cbr\u003e\u003cbr\u003eSEROTA:  Joseph Brody?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, Joseph Brody.\u003cbr\u003e\u003cbr\u003eSEROTA:  He was also from the Yiddish theater.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, that’s right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=394.0,418.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Who did you think was the best of these conductors?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I would say Meyer Posner.  He had a doctorate from Guild Hall in London.  And Meyer Posner was an excellent conductor. I would say that they were all pretty good, but I would, I don’t know, I would, though, he was a Ph.D. in music.\u003cbr\u003e\u003cbr\u003eSEROTA:  How many children were in the choir?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=418.0,436.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Oh, I don’t know.  The whole choir, maybe 25 to 30 people.\u003cbr\u003e\u003cbr\u003eSEROTA:  So about…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sometimes as much as 40.\u003cbr\u003e\u003cbr\u003eSEROTA:  Yeah?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, three, four basses, five basses, five sopranos.  I mean, the boy sopranos in those days.\u003cbr\u003e\u003cbr\u003eSEROTA:  So you probably had about 25 children and about ten adults?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=436.0,453.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I would say about 20 children and, and about ten adults.\u003cbr\u003e\u003cbr\u003eSEROTA:  And how often did the choir rehearse?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, during the year, sometimes once a week.  Of course, for the High Holy Days they rehearsed a couple of weeks.\u003cbr\u003e\u003cbr\u003eSEROTA:  All summer?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=453.0,466.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/23","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Yeah.  In fact, it was very interesting, you know.  David Sarnoff, who was distantly related to us, was, he sang with Machtenberg.  He was then with the, this business of the Titanic, which he announced to the world that the Titanic was sunk, he was….  And he used to come down to rehearsals.  He loved the choir.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=466.0,486.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/24","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  In those days, when your father first came, he officiated both downtown and uptown?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  No.  He officiated downtown a couple of times, but his main synagogue was the Ohab Zedek on 116th Street.\u003cbr\u003e\u003cbr\u003eSEROTA:  Did he ever officiate without a choir?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Very rare.  But they put a choir together.  After all, that’s the reason why — all right, I mean, I sang in the Conservative synagogue.  But we used the organ, because the organ was a great help to the voice.  And this is the reason why.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=486.0,516.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/25","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of course, they used the choir to suddenly modulate, when a cantor modulated from one key to another.  They could do it automatically, see. They did it with Malovany.  They had, used, singing all my father’s music, one particular Saturday about a year ago or so.  And they had a choir there, these students.  It was from hunger.  They didn’t know how to modulate from one key to another.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=516.0,542.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/26","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It’s just like the goyim in my father’s recording in the Brich Shmei.  Where he stay, you can feel that the key goes from A-minor to C-major.  And they kept the A-minor there; the organist didn’t know what the hell they were doing, either. That’s the reason why I had this argument with my father.  It was an argument of love, not of hate.  I said, “Poppa, your voice is marvelous, the way it comes through.”  I said, “They should even keep the orchestra more quiet, because,” I said, “the accompaniments smell to high heaven.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=542.0,573.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/27","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I was tremendously impressed after ten years of this — I don’t want to call it an argument.  Because it wasn’t an argument, it was a discussion.  I must have been 15 years old.\u003cbr\u003e\u003cbr\u003eAnd by the time I was 25, we went to Israel.  But even from that time on, I used to say to my father, “Poppa, there’s something wrong with that recording.  I know what it is; I can’t put my hands on it.”  I didn’t know enough about theory, harmony, and counterpoint in those days.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=573.0,597.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/28","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Finally, we got to Israel and the man who was engaged to be our piano accompanist was Nachum Nardi, see.  And he was married to Bracha Zefira.  So in between, he said, “Henry, I’d like to have you hear Bracha sing, sing.  Come to one of these concerts.”  “Oh,” I said, “I’d be delighted.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=597.0,617.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/29","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And when I heard that Mid-Eastern music, with his accompaniments, I really went mad.  I told him, I brought it to my father’s attention.  And I said, “Poppa, you have to come to hear Bracha Zefira sing.”  I said, “The accompaniment is entirely different.  It’s the accompaniment of the Middle East.”  I love these open fifths there, that I love.  I mean mixed in.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=617.0,636.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/30","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All right, you have the baroque style, you have different styles, too.  Sometimes I hear Bach’s music, a number culled from the Bach chorale is Leibster Jesu — Love Thee Jesus.  All right, you talk about Jesus there.  But the melody — (Sings) — you know.  This doesn’t sound Jewish?  It sure does.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=636.0,660.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/31","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And, but the other things that I heard him do, especially even in the major key when she sang (Sings) — Or the work song, \u003cbr\u003e\u003cbr\u003eGILDAR:  That’s Ki Hashmona Shabbat.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, yeah, and Tsvi Avoda that he wrote.  Oh, beautiful, see.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=660.0,678.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/32","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: So I said, “Pop, that’s the kind of music I’d like to hear with the accompaniment.” He said, “You’re so right.” I’ll never forget — it was June the 18th, it was on a Sunday afternoon.  We went swimming in the Yam Hamelech.  That’s where he came out of the water and he looked white.  My mother saw right away there’s something wrong.  But that afternoon, he said to me — of course, you understand Yiddish.  If not, you’re a foreigner.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=678.0,700.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/33","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  So he said to me, “(YIDDISH)”.  In other words Poppa wanted me to rewrite most of his works or whatever I could get my hands on.\u003cbr\u003e\u003cbr\u003eGILDAR:  (YIDDISH).\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  And then of course, I brought up the idea to even the late Dr. Isadore Freed, who I thought was a wonderful man and a wonderful teacher.  And we got together.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=700.0,723.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/34","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA: Let’s backtrack.  Let’s backtrack a little bit.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=723.0,742.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/35","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Yeah.  Well anyhow, so I started, after Poppa died, I mean, and I wanted to fulfill his promise.  And I said it’s going to go to the archives and to the University of Jerusalem or be spread among the libraries of the world. How are the people going to get that style if they didn’t hear these recordings?  I mean, this would have been a dead issue.  Fine, they’d make arrangements. So what?  In 25, 30 years, after I’m gone, they’ll say, if the music was not the same, how come that there was no music printed of Cantor Rosenblatt?  And that’s how I came to this.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=742.0,771.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/36","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Going back a few stages…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  All right.  Go back.\u003cbr\u003e\u003cbr\u003eSEROTA:  I naturally never heard your father in life.  I know him through his recordings and what I’ve read about him in newspaper articles, and the marvelous book that your brother, Rabbi Samuel Rosenblatt, wrote about him.  In terms of his recordings, I know he began as a very young man in Europe.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=771.0,790.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/37","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  And most of the selections that he recorded are typical from the synagogue liturgy with very primitive piano accompaniments.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  That’s what I didn’t like about those recordings.\u003cbr\u003e\u003cbr\u003eSEROTA:  Then he came to America…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Right.\u003cbr\u003e\u003cbr\u003eSEROTA:  …I believe in 1912.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  And he began to record first for Victor and then he began to record for Columbia.  When he recorded for Victor…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Columbia was only two years.\u003cbr\u003e\u003cbr\u003eSEROTA:  …they had primitive organ accompaniments, and occasionally, the organists would play the wrong chords.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=790.0,817.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/38","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  He recorded for Columbia a lot of choral selections with the choir from the shul.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Katz Chorus, but go ahead.\u003cbr\u003e\u003cbr\u003eSEROTA:  You can clarify if I’m correct or incorrect.  It seems that the whole choir was not participating in these recordings.  It doesn’t sound like there are 40 singers singing there.  It sounds like they have a smattering of singers…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, yeah.  You’re right; you’re not wrong.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=817.0,838.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/39","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  And he sang these compositions by Wohl, and Kasimirsky was participating.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  Right?  Now, it seems after the First World War, there was a transformation.  Because the selections that he recorded at that point are of a different level.  Akheinu…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Akheinu Kol Beis Yisrael?\u003cbr\u003e\u003cbr\u003eSEROTA:  Habeitz.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, Habeitz.\u003cbr\u003e\u003cbr\u003eSEROTA:  Ad Shelo Atsarti.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Right.\u003cbr\u003e\u003cbr\u003eSEROTA:  Elokei Neshoma.  These numbers are vastly superior.  Not that the other numbers weren’t good, but maybe he was inspired by the tragedies of the First World War.  Would you say that’s…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=838.0,874.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/40","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I don’t know.  Because I feel it’s a, it’s a gradual — what is it called?\u003cbr\u003e\u003cbr\u003eSEROTA:  Evolution? Growth?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, not just a gradual evolution.  It’s a gradual of, of experience in time.  You know, you think differently, I’m sure, today than you did when you were 18 or 20 years old, you see.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=874.0,893.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/41","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the mind develops, see?  And you go further into life, or the, the vicissitudes of life, if you want to call it that.  And the maturity came as well.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=893.0,907.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/42","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then I saw, there’s an old — I hate to use that word — but I think it’s Schiller, a German writer, he says, (in a German accent) “We get old too soon and smart too late.” And this is exactly.  There’s a gradual development that takes place with all of us over the years.  I think differently today than I did when I was 20, and I think differently when I was 30 and 40, and so forth.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=907.0,929.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/43","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I think there’s a maturity, and maybe he also heard — he was very much affected, he loved opera, the opera repertoire, as well as just cantorial music.  And he did sing in 15, 20 languages in his concerts.  And if he needed help, my brother Sam helped him.  My late brother Leo helped him.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=929.0,946.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/44","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  How did Sam help him?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sam, Sam spoke 32 languages.  The rabbi.\u003cbr\u003e\u003cbr\u003eSEROTA:  But getting, getting back to his hazzanos.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  You wouldn’t say that there were any specific events that inspired him to a heightened level of creativity?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=946.0,961.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/45","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: I don’t know.  I mean, well, probably the family that helped him and were musicians, and they were very religious, was the Hasidic Dynasty.  The Saade Gerre.  The whole family were all musicians, and I think that had an impression upon him.  And of course, hearing a great deal with other cantors and style.  And somehow or other, he developed a style all of his own.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=961.0,984.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/46","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It’s on the first-day issue of United States postage stamp.  You know that, don’t you?  There’s a, there’s a first-day issue United States with my father on one, John McCormack on one side, and my father on the left.  From the Philatelic Society, the B’nai B’rith.  It came out in 1982.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=984.0,1000.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/47","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And there’s a story about his back.  Caruso, when Caruso and me, when my father finally met up with John McCormack at a concert.  McCormack gave a concert in the afternoon, Atlanta, Georgia; my father at night in the same auditorium.  Candle, the Coca-Cola king.  And McCormack said to my father — of course they didn’t tell you the whole thing on the stamp there.  Something he said, he says, “Oh, I finally meet the Jewish McCormack.”  And he says, “Yes.”  And he says, and my father said, “And I’m finally meeting the Irish Rosenblatt.”  Very clever.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1000.0,1031.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/48","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Did you know Nathaniel Shilkrit?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure.  And I knew Shilkrit.  And how.\u003cbr\u003e\u003cbr\u003eSEROTA:  He was the man who arranged those Blue Seal Victor Records like Akheinu and Habeit.  What sort of man was he?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1031.0,1042.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/49","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Oh, he was a lovely man, he was a very fine musician.  But as far as I’m concerned, I don’t think he knew anything about modal harmonic structure.\u003cbr\u003e\u003cbr\u003eSEROTA:  In other words, you think the arrangements were inappropriate?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure.  A good many of them.  Some of them weren’t.  I’m not saying that everything was, but there were plenty of ‘em.  They were very, very primitive, if there ever was.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1042.0,1064.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/50","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it’s a shame, because such a voice — you know Caruso told my father, because they became inseparable friends, the three of them — Caruso — There’s John McCormack’s son in the middle there.  The fellow there on the right there is Bob White, who did, in Lincoln Center, gave a whole concert of John McCormack’s music.  And when I came to see him after the concert was over, they brought in Cecil McCormack.  He, Papal Count.  He flew in from Dublin, because he was doing his father’s music, his father’s repertoire.  And so they took that picture there because they found the son of McCormack and the son of Rosenblatt visiting the concert of Bob White.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1064.0,1099.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/51","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And soon as I met Bob White, I went to him and I said, “Robert, you don’t know me from Adam.”  I said, “But who is the greatest cantor in the world?  Would you know?”  He said, “Sure.”  He says, “Rosenblatt.”  I said, “Fine.”  I said, “I’m his son.”  He says, “Is that so?  (Sings) Vikhol, vikhol, ma’aminim… he started to sing for me some of Poppa’s records.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1099.0,1118.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/52","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So did I have an Italian?  Mike Cisca, whose father was the owner of the three Italian newspapers in New York — the La Foglia de New York, Corea de Americano, and the Il Progresso.  He was tied up with them.  And Mike and I went to the Metropolitan three times a week, to the old Met on 40th Street, because we had the press tickets, so we took advantage.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1118.0,1138.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/53","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I mean, that’s how this whole thing came together.  And finally, they all met.\u003cbr\u003e\u003cbr\u003eOf course, Caruso did hear my father daven in Hamburg, Germany.  But finally, they met formally in the United States, ‘cause he heard about this cantor, and Caruso was there for, on a concert tour, and he went in to hear Poppa sing in the synagogue.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1138.0,1155.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/54","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Then, in 1917, when they had the Liberty Loan drive — bonds — quarter of a million people from 40th to 44th Street.  There was no such thing — they had a megaphone.  And they raised money for the Liberty Bonds during World War I.  There were two people that sang — it’s Caruso and my father.  They sang together.  And they became inseparable friends.  The three of them.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1155.0,1177.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/55","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So as I say, during that era, it was Caruso, the opera singer, John McCormack, the American-Irish tenor, and my father, the cantor.  And they lived in the same era.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1177.0,1190.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/56","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it was glory in New York here.  We had such great hazzanim, I mean.  Like Sirota or Bachman, Shlisky, even, was supposed to be outstanding.  Hirschmann, of course.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1190.0,1204.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/57","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Let me ask you this — from among the other hazzanim that were your father’s contemporaries, who did he think were the best?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Malavsky.\u003cbr\u003e\u003cbr\u003eSEROTA:  He liked Malavsky the best…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yes.\u003cbr\u003e\u003cbr\u003eSEROTA:  …of all of his contemporaries?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yes.  He was — a tremendous knowledge of the hazzanut.  He wasn’t the musician that my father was.  I mean, anybody with that, I don’t want to mention any names.  But even some of the modern, the contemporary, that said, “So-and-so — great.”  But all the same thing, they said, “But no Rosenblatt.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1204.0,1234.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/58","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  What did your father think of Kwartin?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Wonderful.  Wonderful.  And what a gentleman beside.  Kwartin was a very, very strong davenner, if ever there was.  Kwartin was beautiful.\u003cbr\u003e\u003cbr\u003eSEROTA:  You heard Kwartin daven?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Ohh!  Many times.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1234.0,1248.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Where’d you hear him?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I heard him singing in, when I used to sing in choirs.  And I sang in choirs, too.  That’s where I got a lot of my experience.\u003cbr\u003e\u003cbr\u003eSEROTA:  You sang in other choirs other than your father’s choirs?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure, of course.  After Pappa died.\u003cbr\u003e\u003cbr\u003eSEROTA:  So in other words, you heard Kwartin as an adult?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  Oh, sure.  In his upper years.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1248.0,1264.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  How would you compare the way Kwartin davenned with the way your father davenned?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Entirely different.  You can’t compare — it’s a different style.\u003cbr\u003e\u003cbr\u003eSEROTA:  What was the difference in the styles?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Try and explain it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1264.0,1277.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Could you explain it musically?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  It was just a certain style of hazzanut based upon a nussach, but still it was a different approach.  That’s the only way I can explain it.\u003cbr\u003e\u003cbr\u003eGILDAR:  It would seem to me that your father, olav hasholom, was a lot more innovative, a lot more creative than Kwartin.  Kwartin was basically a baal t'filla","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1277.0,1298.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I can say something, but I don’t know if it, if I can, I can’t say it in public.\u003cbr\u003e\u003cbr\u003eSEROTA:  Why not?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I don’t criticize people and down people, and it’s not a question of downgrade.  But a very interesting thing happened.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1298.0,1313.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: I got a call one day from Molly Picon. We weren't that close, Molly Picon and I, but I knew her and she knew me. The were having a Hanukkah concert, and they wanted me to do some operatic arias and some Yiddish songs. He did the Hanukkah candles and so forth.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1313.0,1334.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Kwartin.\u003cbr\u003e\u003cbr\u003eSEROTA:  Kwartin?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, it was during Hanukkah time.  And he said — I used to imitate him with his Hungarian-German accent.  And I had slightly nasal sound — “Henry!”  That’s the way he would talk — “Henry! (YIDDISH)…”.  I said, “Bitte, herr Kwartin.  Fine.”  “(YIDDISH).”  He was going to sing Hineni Hayom Memas.\u003cbr\u003e\u003cbr\u003eSo he said, “(YIDDISH).”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1334.0,1369.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: All right.  (Rosenblatt plays piano)  So he started singing.  He could sing, Hineni.  I gave him the key.  (Sings) Hineni… in left field.  Wasn’t anywhere near the chord that I gave him.  (Sings)  I, I mean, he gave me an entirely different key.  Had nothing to do with it.  And then I knew, because I never saw arrangements, I mean, written by Kwartin, you see.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1369.0,1413.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But look, that was that era, that time.  But he was still a great cantor, you couldn’t take away.  So he learned by rote.\u003cbr\u003e\u003cbr\u003eGILDAR:  No, he had the fortraga (?), you know, and the….\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Right, but, but look out.  That’s gotta fit like the Japanese scale.  (Sings) You have da da da de da… that’s their pentatonic, where the Chinese is different.  That’s why they have Turandot with the five-tone scale, and they have Madame Butterfly with that type of a scale in the Japanese.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1413.0,1440.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Because one thing that I notice about your father’s compositions, and I’m very much into it, because your father was one of my idols in my, in my professional life.  And I sing much of his material.  Every piece was unique.  Every composition.  Some hazzanim, if you heard one piece, you heard them all.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1440.0,1458.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  You know, I mean, they have two or three ways or gangen how they go, and that’s it.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  Rosenblatt, every piece — the Kaba Shofar (?) had its character.  Rachemno (?) had its character.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  The Kacheno Tsade (?) had its character.  Elokei Neshomo — whatever you’re doing.  Take any piece.  Asher Moloch.  Everything is different.  Everything has its own.  And every dreidl, every phrase.  You know, some hazzanim of today, every piece ends with a bravura, with a cadenza, with a high note.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1458.0,1484.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Yeah, I know.\u003cbr\u003e\u003cbr\u003eGILDAR:  His pieces were all different, all unique.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And how about his leitmotif that he had?  You talk about congregational singing?\u003cbr\u003e\u003cbr\u003eGILDAR:  Right, right, right.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  This was congregational singing.\u003cbr\u003e\u003cbr\u003eGILDAR:  You said it.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And they all sang together with him.  And especially in the (sings) da da da da de da da da… that’s from Zachor.\u003cbr\u003e\u003cbr\u003eGILDAR:  In my synagogue, but this is a congregational melody…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Very Hasidic-sounding.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1484.0,1505.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  In my shul, for this for geshem, my shul knows this already, and they come in ahead, before I start, they already do it.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Imagine it.  Sure.\u003cbr\u003e\u003cbr\u003eGILDAR:  Yeah.  Because my shul is very Rosenblatt-oriented.  And… okay.  Go ahead.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1505.0,1516.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Was there any reason why he, he frequently has a melody at the conclusion a recitative?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  If it fitted there, he put it in.  If it didn’t fit, he would not do it.  Sure, that’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  It seems he had a certain pattern, where after he completes a certain section of recitative…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Not always…\u003cbr\u003e\u003cbr\u003eSEROTA:  …he would have a melody.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  …it’s a question of where.  It’s a question of where, Barry.  It’s a question of where.  That’s what it is.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1516.0,1538.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Let’s say like Elokei Neshema.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  He sings a melody, the melody is repeated by the accompaniment, he sings a falsetto, and then he comes in with the fortissimo and finishes the selection.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Right.  All right.  That was his style, that was his way of doing things, that was his way of interpreting.  I mean he developed that — as far as I’m concerned, I mean, not because it’s my Poppa, because if I didn’t, I could be thinking, if I wanted to criticize him, I criticized him.  He wouldn’t accept it from anyone, but he’d accept it from me.  I can tell you that.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1538.0,1566.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Did you ever criticize any of the recordings he made?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I didn’t criticize.  There were — well, I always criticized certain things, of course, because I didn’t like the music.  I instinctively felt that there was something wrong, and that they could develop much more.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1566.0,1578.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Were you present at the recording sessions, mostly, when he did them?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Very often.  Not always.  Not often.\u003cbr\u003e\u003cbr\u003eGILDAR:  He took you along?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I was there with the session when, when Thomas Edison recorded my father’s voice, ‘cause Thomas Edison of Menlo Park, outside of Camden, New Jersey, was the head of the recording department…\u003cbr\u003e\u003cbr\u003eGILDAR:  Yeah, but the Edison’s were never released, were they?  The Edison recordings.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  What?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1578.0,1596.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Edison.  I don’t recall them ever being released.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I don’t remember.  I don’t know what they did with it.  So many years ago.\u003cbr\u003e\u003cbr\u003eGILDAR:  But were you present at Victor, at Columbia Company, when…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  23rd Street.\u003cbr\u003e\u003cbr\u003eGILDAR:  …he recorded on the horn.  Before the microphones, I mean, in the troube, you know.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  That’s right, I was there.\u003cbr\u003e\u003cbr\u003eGILDAR:  Was a session, did he just do one take or did he…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1596.0,1612.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: “Oy, gutenyu,” he said.  And one number, I think, like Habeit Mishamayim, he must have done 48 takes.  Because it was on wax.  And if there was — on 23rd Street, they were putting up a building, and there was a bomb that exploded.  Well, you know, I mean, with dynamite.  And the building there — boong!  It went right through the wall, through the record and everything else.  All over again.  You made a mistake in one bar, you would have to go from the beginning to the end.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1612.0,1634.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/77","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  What happened to all those out-takes?  Where are they, those out-takes?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I don’t know.  They probably, the takes that were no good, they threw out, that’s all. But imagine if you dropped the record and broke the pieces instead of the vinyl.  And now, they, of course, they came into tape and now into discs and they’re going to come into something else.\u003cbr\u003e\u003cbr\u003eSEROTA:  How old were you do you think at the time you first went to one of these sessions?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1634.0,1653.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/78","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  About 15 years old.\u003cbr\u003e\u003cbr\u003eSEROTA:  So you were there in the era when he was singing Habeit Mishamayim…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, sure…\u003cbr\u003e\u003cbr\u003eSEROTA:  …and those selections.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Of course.  And how.\u003cbr\u003e\u003cbr\u003eSEROTA:  Then of course you made recordings with your father.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I made three recordings with him.\u003cbr\u003e\u003cbr\u003eGILDAR:  Lo Sakhmot.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, and if it wasn’t too high for him, I had, the poor bass had to sing very much lower, like the Ya'ale.  You know what I mean?  They didn’t have those deep notes in those days, but it still came out quite well, I think.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1653.0,1679.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/79","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  How old were you when you record Ya'ale?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Twenty years old.  And in the quartet, in the double quartet in the Lo Sakhmod, the two tenors, double quartet, the two tenors was Jan Peerce and Richard Tucker.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1679.0,1690.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/80","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  In Lo Sakhmod.\u003cbr\u003e\u003cbr\u003eGILDAR:  What?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  Wow.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Of course.  Jan Peerce and Richard Tucker were in, part of the quartet with Machtenberg.\u003cbr\u003e\u003cbr\u003eGILDAR:  And how about the, (inaudible)?\u003cbr\u003e\u003cbr\u003eROSENBLATT: Also, they had the Rogaltsky (?) in those days, a marvelous piece in those days to. Yossel Basswas with us.\u003cbr\u003e\u003cbr\u003eSEROTA: Yossel Bass sings on the recordings?\u003cbr\u003e\u003cbr\u003eROSENBLATT: Some of them I think.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1690.0,1710.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/81","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA: We just spoke with Ganchoff earlier and he mentioned that he sang in the choir for Rotzei yehi ratzon.\u003cbr\u003e\u003cbr\u003eROSENBLATT: Oh, is that so? I couldn’t remember. A very fine hazzan by the way. Excellent hazzan.\u003cbr\u003e\u003cbr\u003eSEROTA: He sends his regards.\u003cbr\u003e\u003cbr\u003eROSENBLATT: Oh thank you, thank you for that.\u003cbr\u003e\u003cbr\u003eGILDAR: You know if we could go off a little but in a different area.\u003cbr\u003e\u003cbr\u003eROSENBLATT: Go ahead.\u003cbr\u003e\u003cbr\u003eGILDAR:  I would like to talk about your father’s voice. First of all, how would you classify his voice in today’s classification terminology, like we classify a voice?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1710.0,1740.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/82","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Let me put it this way.  I think I have a brochure there.\u003cbr\u003e\u003cbr\u003eGILDAR:  This?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah. This is a brochure that I wrote because my pupils wanted me to, asked me.  And I think it’s very interesting, though.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1740.0,1763.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This is Facts in Fiction.  And the name of the article is called “A Positive Approach to Correct Singing.”  Now I want to get to the basic, I don’t want to do the whole thing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1763.0,1778.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"THE ANSWER: Every nation throughout history has been known to have contributed to its particular brand of the art of art and culture to mankind.  The soft, flowing language spoken in Italy for the past 2,000 years was conducive to the development of a superior batch of laryngeal-pharyngeal muscles and vocal organs.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1778.0,1809.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The lack of nasal gutter in vocal organs, the lack of nasal and guttural organ sounds and hard sounds made the evolution of a pliable and adjustable vocal instrument possible.  It was good, because when teachers say, “Sing in the throat, sing in mask, sing in the…”. And of course, I have a word I can’t say — the B.S. — I put after it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1809.0,1828.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In fact, a few were born… in fact, though, it was never any formal vocal training.  Is there a person who is called a natural-born singer, who sings with a natural perfect technique, and who has never had any formal vocal training?  My answer is definitely so.  In fact, quite a few were born with such capabilities.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1828.0,1848.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If the natural were asked how he is able to sing so faultlessly, the question could not possibly be answered. The simple reason is that the natural takes it for granted.  And if it were not for the natural singer, it would have been impossible for the Italian school of thought of singing to exist or function.  It was the natural who gave birth to that school.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1848.0,1866.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the authorities experimented with these naturals in order to understand the secrets which nature endowed upon them.  Their aim was then to teach these secrets which they finally had discovered.  It took a time of 300 years by word of mouth, who were the Camarata singers, I mean, composers, who also started the Society of the Camarata, who started the Italian school of singing. That’s what it was all about.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1866.0,1891.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Did your father study voice formally?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yes, with some gentleman in Vienna.  He was a very, very rich man.  Very wealthy man.  He was quite a singer.  He had three lessons with him.  He couldn’t teach him anything.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1891.0,1902.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then Fineman he came along, and then, then, in the end, believe it or not — I never mentioned this publicly at all, because they think that I’m so egotistic.  But my father was singing one day, and he was singing (singing).","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1902.0,1916.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/91","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I said, “Pop, what are you doing?”  I was in the other room, making an arrangement.  I said, “When you sing the hazzanut — (Sings in Hebrew)”.  So he would, I would say, “Do the same thing.”  (Sings) and so forth.  I said, “Give me that connection.  Use that voice there.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1916.0,1948.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/92","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Oy, my God, he says, to me, in Jewish, “(YIDDISH).”  And so forth.  And from that time on, he never made a move without me.  Like he said, he would sing a G.  Top G, all right.  He would sing it open.  I said, “Poppa, when you come to the G, if you’re doing a nine-tone scale, going from F to G in the upper register, fine.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1948.0,1966.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You can pass it as an open note, just like I would do from a D to an E-natural.  But,” I said, “but if you sustain that note, you better close it, instead of leaving it open.  Because if you leave that tone open, you tire the voice.  That’s why you get husky immediately.”  And he followed through and everything was fine.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1966.0,1985.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And as I say, that’s the way he was able to take certain things from me.  Well, we had a discussion, he was very open.  After all, I was his own, his child, his only, I mean, his son.\u003cbr\u003e\u003cbr\u003eGILDAR:  What was the warm-up like before, before a davenning, before a concert…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Nothing at all.  He never even warmed up.  He would start with Shochein Ad, and he looked at me and I would sit on the side of the shul, he says, “Look, I’m going to start in a bass key.  And then I’m gradually,” he would go, “by the time I get to, to the…”\u003cbr\u003e\u003cbr\u003eGILDAR:  Do you remember what key he used to daven, let’s say Shakhris?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=1985.0,2009.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  It didn’t make any difference.\u003cbr\u003e\u003cbr\u003eGILDAR:  Did he use a commatone?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  He had absolute pitch.\u003cbr\u003e\u003cbr\u003eGILDAR:  Oh, he had absolute, uh-huh.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure.\u003cbr\u003e\u003cbr\u003eGILDAR:  So he started in the low registers.\u003cbr\u003e\u003cbr\u003eROSENBLATT:   He started up the choir without a, without a tuning fork of any kind at all.\u003cbr\u003e\u003cbr\u003eGILDAR:  You mean he just woke up Shabbat morning and went over to the shul and davenned.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  So he started (Singing) Shochein ad marom vikadosh… he’d do an extra dinan on purpose…\u003cbr\u003e\u003cbr\u003eGILDAR:  There wasn’t a scale…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  “Look at me.”  He’d have a big smile on his face.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2009.0,2030.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  There wasn’t a scale before or nothing?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, no, no.\u003cbr\u003e\u003cbr\u003eGILDAR:  Finished.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He started in and then the boys, I mean, warmed up.\u003cbr\u003e\u003cbr\u003eGILDAR:  And how about before a concert?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  The model walked through, worked them, and then finally, from the time it came to Mi Kamocha or something like that…\u003cbr\u003e\u003cbr\u003eGILDAR:  How about a concert, for example?  He… let’s say he had to do some difficult numbers.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eGILDAR:  He just went in cold and sang it?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2030.0,2047.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  No.  Oh, no.  He didn’t vocalize before.\u003cbr\u003e\u003cbr\u003eGILDAR:  Uh-huh.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, he didn’t vocalize before.  Maybe he sang a few scales at home.  He never bothered with a thing like that; it was amazing.\u003cbr\u003e\u003cbr\u003eGILDAR:  So gegangen.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  It just was there for him.  In every way.  And I mean, and he was a — to be able to interpret that difficult, I mean, liturgical music, I mean, the way it should have been interpreted.  He bought in a certain form.  And that’s what happened.  And that form developed as we went on.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2047.0,2074.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Did he ever study voice in America formally?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I think maybe one teacher.  I don’t even remember who.  No, there was a Mr. Brown, who was an electrolysist.  Electrolysist.  He would take out the hair from women.  And he was trying to tell my father how to sing.  And when I think back, you know, how incorrect this guy was.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2074.0,2091.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Too bad that it wasn’t at my age.  But later on, yes.  It was a different story.  And my father used to say to me, “(YIDDISH).”  And my mother would stand at the arc in the door, under the arch of the door, and say, “Henry didn’t study this.  It’s an instinct.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2091.0,2105.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He said, “But you’re not going to teach voice,” he says, “until you have many years experience in the opera.”  And he was right.\u003cbr\u003e\u003cbr\u003eSEROTA:  Musically, did your father have any formal musical education, or he was self-taught?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And how?  And how?  He was extremely musical.  He studied with a family, the Sadigura Rebbe.  He and his late brother, Levi, you know, my uncle Levi, who was killed by the Nazis.  Levi was even a faster sight-reader than my father.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2105.0,2129.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"When my father once had a race with Jascha Zayde, the great pianist, you know, who was my closest friend also.  And Jascha Zayde would play the piano, and my father would go, (Speed-talking) “Do re mi fa sol la ti do…” — you know, he’d fly with that sight-singing there.  Oh, he was a fantas-","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2129.0,2143.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He’d come in, for example, to a strange town.  Strange choir.  They gave him the notes to read, he said, “I haven’t got the time.  I’ll sing it at the pulpit.”  He’d take it to the pulpit.  To sing the hazzanim part.  It was there, it was perfect; he didn’t have any trouble.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2143.0,2158.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/103","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  But in addition to your father composing recitatives, he wrote choral music.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, sure.  And how.\u003cbr\u003e\u003cbr\u003eSEROTA:  Where did he develop the facility to be able to write music for a choir?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, he studied at, I tell you, with the Sadigura Rebbe and at night, when he was living in Germany.  And over there, with the, you know, they didn’t let him repeat a word twice; that’s why he left Germany.  He couldn’t say Hallelujah twice. So he sat down, he didn’t want to wake up all the seven children.  We were seven children at that time, and my brother Ralph was born in America.  So he was very quiet.  That’s how he developed a falsetto — (Imitates) He-he-he-he.  And he would hear all the chords in his ear, and he would write the music for choir as well, this cantor, oh, my God, and how.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2158.0,2191.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/104","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  So in other words, when he was Hazzan in Hamburg, Germany…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Right.\u003cbr\u003e\u003cbr\u003eSEROTA:  …all the recitatives that he has that were printed beforehand…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  …with word repetitions, he didn’t sing them in shul?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Some he did and some he didn’t.  It’s according.\u003cbr\u003e\u003cbr\u003eSEROTA:  Well, most of his, most of his recitatives have repetitions of words.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2191.0,2207.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/105","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Yeah, yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  Except if he did them with a very long text.  Let’s say Hineni doesn’t have too many repetitions, or what.  But in other words, he wasn’t able to sing them himself, in his own synagogue?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, he could sing that, but there was, anything repetitious, no.\u003cbr\u003e\u003cbr\u003eSEROTA:  Did you have any idea — I mean, you were very young at the time, but in terms of the choral music that he sang in Hamburg, what sort of choral music did they sing?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Eh, it was of a style of Mendelssohn, or something like that.\u003cbr\u003e\u003cbr\u003eSEROTA:  Lewandowski they sang?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2207.0,2234.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/106","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Straight, yeah. To me, Sulzer was the guy who really started the works there.  I mean, and so forth.  Sulzer, they were all copies of Mendelssohn, and I didn’t care for it.  Some things — all right, so fine, so what would he have done — (Singing) Ma tovu.\u003cbr\u003e\u003cbr\u003eDo you know that the beginning, especially the Orthodox Jew, he said, “Eh, goyishe music.” What goyishe music there? I mean, when they commissioned Ernest Bloch to write the Avodah Kodesh.  When I hear the first notes — (Sings) Da da de… you know — (Sings) Da da de do do…\u003cbr\u003e\u003cbr\u003eSEROTA:  That’s how it goes.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2234.0,2266.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/107","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Sounds like the Gregorian, it sounds like the cantorial chant.  I mean, the…\u003cbr\u003e\u003cbr\u003eGILDAR:  It’s the beginning of (INAUDIBLE).\u003cbr\u003e\u003cbr\u003eSEROTA:  What about the Tsur Yisroel?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s very well… Merrill sings that with, you know, Leonard Bernstein conducting.  And that’s how, my father, that was from my father’s music. But that, that Tsur Yisroel was given to Bloch by my father when we were on the train going to California, and Poppa was singing in the picture, the original, you know, the cantor in The Jazz Singer. With Al Jolson.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2266.0,2296.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/108","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we were on the train for five days, going from New York to San Francisco, with my brother Leo and my mother and Poppa and myself.  And Bloch was in our car.  Ernest Bloch. And he was at that time, before he went to Israel — he was there for a couple of years, you know, went into a Sephardic shul, he went into all kinds, to understand the trope of the Torah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2296.0,2316.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/109","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That’s how he wrote that. And when he starts in with this very beginning, it sounds like the beginning of a symphony orchestra.  I can feel the trope of the Torah in certain places there.  It was powerful, it was overwhelming.  And you think that the, some of these people in the shul, they understand the Bloch service?  Come on, forget it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2316.0,2335.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/110","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  So your father gave him the music, recitatives…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Gave him, he says, “I want something.  I want it very Orthodox.”  (Sings) Tsur Yisroel… and so forth.\u003cbr\u003e\u003cbr\u003eSEROTA:  And you went with your father to the West Coast when he was filming The Jazz Singer?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  How long a process did that take?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2335.0,2360.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/111","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Well, I don’t know.  We were there a couple of months. You know, my father was supposed to sing six numbers in that, and Al Jolson is the one who put the money in the picture.  And he used to love to carry my father’s cane around.  He loved it, see.  But when he heard the playbacks, he took out all the numbers.  ‘Cause after all…. You know, he left a very bad reputation of one thing.  I thought he was always corny.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2360.0,2382.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/112","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Not because on account of my Dad.  But when, after Caruso and the Metropolitan Opera, when Caruso got through singing and he said to the audience, “You ain’t heard nothing yet!”  You know, that was the famous remark that he made.  Strange people, strange life.\u003cbr\u003e\u003cbr\u003eGILDAR:  They even cut it short, the Yahrtzeit Licht Song also.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, that’s right — three-quarters of it.\u003cbr\u003e\u003cbr\u003eGILDAR:  According to your brother Ralph, who I spoke to recently, he said they even cut part of that off.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  Because he didn’t want any to shine, show…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, my father’s voice would have drowned him.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2382.0,2411.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/113","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Did you like the arrangements that were made, let’s say for the, the Hallelujah that he recorded?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, I changed the Hallelujah.  I didn’t make the arrangement of the Hallelujah.  You know that — I can’t remember his name now.\u003cbr\u003e\u003cbr\u003eGILDAR:  For Warren (INAUDIBLE).\u003cbr\u003e\u003cbr\u003eSEROTA:  Kane?  Was it Kane?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2411.0,2424.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/114","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  It was Dr. — yeah, Milton Kane.  He, he made the arrangement.  He wanted to make the arrangement.  He asked me, “Henry, I’d love to make arrangements to the Hallelujah.”  And the…\u003cbr\u003e\u003cbr\u003eSEROTA:  Who did it for the…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And they jazzed it up on that record — bah!  You know.  (Sings) Bah, bah, bah, bah.  He lived in California.\u003cbr\u003e\u003cbr\u003eSEROTA:  It was a staff arranger for Warner Bros.?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2424.0,2444.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/115","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: I wound, at the age of 18 — there was no union, I think, in those days at all, see.  And the conductor was conducting, and I didn’t like it, I didn’t like the way they jazzed it up, and so forth, and they took wrong tempos, too.  So my father asked him, “My son is very much acquainted with this Hallelujah.  Can he conduct it?”  He says, “Come on.”  And I picked up the baton, and I conducted, at the age of 18.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2444.0,2466.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/116","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  So you’re conducting the orchestra on the Hallelujah that your…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eSEROTA:  …father made for the movie.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, they made a, what do you call it?  The plastic, disk of that, and they sent me one of the last ones…\u003cbr\u003e\u003cbr\u003eGILDAR:  Acetate?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  …‘cause they were going to throw that out, yeah.\u003cbr\u003e\u003cbr\u003eGILDAR:  What other numbers were involved in those six numbers?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, I couldn’t remember now.  It’s too many years gone by.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2466.0,2486.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/117","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Do they have them still out there somewhere, in the…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I don’t think so.  I think they destroyed everything.  That’s the reason why they sent me that acetate record, that’s what it was.\u003cbr\u003e\u003cbr\u003eSEROTA:  Did your father have a favorite record?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Huh?\u003cbr\u003e\u003cbr\u003eSEROTA:  Did your father have a favorite record?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2486.0,2496.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/118","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Have a favorite record?\u003cbr\u003e\u003cbr\u003eSEROTA:  Yeah, of all his records.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, sir.\u003cbr\u003e\u003cbr\u003eSEROTA:  There wasn’t — like for example, I once asked Kwartin’s son, what was his favorite…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Maybe the Amar Rabbi El'azar.\u003cbr\u003e\u003cbr\u003eSEROTA:  The second one.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And also, that Acheinu azrono, which was of course, that was fabulous!  There was another one — oh, the Ya'ale v'yovo.  Very difficult.\u003cbr\u003e\u003cbr\u003eSEROTA:  How about Rachem No?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Huh?\u003cbr\u003e\u003cbr\u003eSEROTA:  What about Rachem No?\u003cbr\u003e\u003cbr\u003eGILDAR:  Rachem No.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2496.0,2520.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/119","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Loved it, but it wasn’t the, of course, it’s a very big…. I know in Romania, the late basso from Romania, that I told you, Yossel Bass.  When the people heard the first time, the first thing they heard was Acheinu Kol Beis Yisroel.  They had a little wind-up, you know, phonograph, and the people stood for a whole block to listen to that recording there.  They couldn’t understand, they couldn’t get over it; they never heard a hazzan sing with that kind of music.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2520.0,2547.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/120","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Now your father…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  They were overwhelmed.\u003cbr\u003e\u003cbr\u003eSEROTA:  …was in The Jazz Singer around 1927.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  1926.\u003cbr\u003e\u003cbr\u003eSEROTA:  ’26.  And then he appeared in a film which was produced by Mr. Joseph Sidon, The Voice of Israel.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  Yeah, yeah — The Voice of Israel.\u003cbr\u003e\u003cbr\u003eGILDAR:  And you’re in there also, in the movie.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, I’m standing at the end there somewhere.\u003cbr\u003e\u003cbr\u003eSEROTA:  He sings Hashem z'khrono.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, what an, oh, that was wonderful.\u003cbr\u003e\u003cbr\u003eSEROTA:  Let me ask you a question.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That was with Machtenberg conducting.\u003cbr\u003e\u003cbr\u003eSEROTA:  Machtenberg conducts that?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yah.\u003cbr\u003e\u003cbr\u003eSEROTA:  Who decided what selection your father would record?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2547.0,2575.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/121","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  My Dad.\u003cbr\u003e\u003cbr\u003eSEROTA:  He decided…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  (INAUDIBLE)  No, he gave my father, and he probably collaborated with Machtenberg, and that’s what happened.\u003cbr\u003e\u003cbr\u003eSEROTA:  They did it in one take?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I think so.\u003cbr\u003e\u003cbr\u003eSEROTA:  Where was it recorded?  Was it in a shul or on a set?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  It was in a set, I think, in that building on West End Avenue.  It was an old building there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2575.0,2601.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/122","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA: When you did that, were there any other hazzanim there the same day, or they just spent the whole day on Rosenblatt setting up and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2601.0,2606.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/123","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Just Rosenblatt setting up.  In the days of Shlissky and some other people were there, but that full day was given to my father.\u003cbr\u003e\u003cbr\u003eSEROTA:  What did your father think of the results?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He liked it very much.  I had some people who were not Jewish, they saw my father — oh, like the late Robert Fitzgerald.  He says, “This is class.” He was a, quite a great tenor.  He sang in opera, and we were both brought up together in opera.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2606.0,2637.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/124","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  What did your father think of Hirschmann?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He thought that Hirschmann was very, very talented, but he didn’t like him as a person. There was an incident that happened.  I don’t know, they’re all gone, so what’s the difference?  I mean, my father was a jokester as well.  But they were having the hazzanas concert in Carnegie Hall.  This is a true story, ‘cause I was backstage when it happened.\u003cbr\u003e\u003cbr\u003eHirschmann was very jealous of my Dad.  My Dad was not jealous of anyone.  And he never had a bad remark about any other cantor.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2637.0,2669.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/125","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Never could you hear him say any remark that was wrong.  But this is a true story that was, maybe I think it’s in the books, in my father’s life story. Hirschmann came up to sing, and of course, there was a choir, a couple of hundred people, of the Hazzanim Farband.  And he had a tremendous applause.  He had a beautiful voice, there’s no question about it.  Although I know that the Metropolitan Opera refused him.  That I know through…\u003cbr\u003e\u003cbr\u003eSEROTA:  He auditioned for the Met?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure.  They didn’t take him.  For other reasons, too.\u003cbr\u003e\u003cbr\u003eSEROTA:  What reasons?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2669.0,2700.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/126","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Well, because there was a certain technique involved and some other things, and they didn’t think that he fitted for the opera.  With his beautiful voice. But anyhow, Hirschmann got through singing, and he came over to my father, and he made fun of his beard.  You understand Yiddish?\u003cbr\u003e\u003cbr\u003eGILDAR:  I know the…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  All right.  “Yo beardenyu?  Vu zuchst de yed beardenyu?”  So my father says, “Beardenyu vicht ach bach legen en dredenyu.”\u003cbr\u003e\u003cbr\u003eGILDAR:  Wasn’t it bagrovenu?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2700.0,2727.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/127","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  No, no.  He says, and about, bedrumen en dredenyu.  That’s what he said.\u003cbr\u003e\u003cbr\u003eSo my father went up and sang, and he got an applause that was twice what Hirschmann had.  And when they got through, and Hirschmann ran over to my father and he kissed him on the face.  He said, “You’re right.”  That was all.\u003cbr\u003e\u003cbr\u003eSEROTA:  So he must have had some affection for your father.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, there wasn’t that affection.  But all the other cantors, they, I mean, they were very close.  Like Kwartin and Poppa, and Malavsky, and you know, all the other… the whole bunch of them.  Berele Chagy…\u003cbr\u003e\u003cbr\u003eGILDAR:  Israel Schorr also.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2727.0,2761.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/128","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Oh, sure.  He was very friendly, very warm.\u003cbr\u003e\u003cbr\u003eAnd if I say, charity?  Tzedaka?  I’m not kidding you.  They had the old kiosks, you know, with the top on, when you went down in the subway station, when they had, you know, with a, you know, ceiling on top.  Like you have here on 72nd Street.  And a man would be standing there and he was crying.  And of course he recognized my father, he knew, he says, “Vu svaynt tia?”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2761.0,2785.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/129","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He says, “You know, I have a wife, three children, I’m out of work,” and so forth.  I have seen with my eyes, and my father had $100 in my pocket.  The man was a stranger!  A complete stranger.  Took out and gave him $50, half the money.  Didn’t even know the man.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2785.0,2805.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/130","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  In those days, that was…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  It was a lot of money.\u003cbr\u003e\u003cbr\u003eSEROTA:  Your father was very strongly influenced by Hasidic music.  Would you say that’s correct?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That would be correct, yes.\u003cbr\u003e\u003cbr\u003eSEROTA:  Would you say that there were other hazzanim that were similarly influenced by Hasidic music?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Probably.  I couldn’t tell you, I have an idea it must have been, because that was the order of the day.\u003cbr\u003e\u003cbr\u003eSEROTA:  They say Pinchik and Glantz were very influenced by Hasidic…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2805.0,2829.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/131","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Very beis hamidrash type, Pinchik.  Pinchik was the smartest cantor, I would say, that, that ever lived.  With that limited range, what he did with that voice.  It was beautiful.\u003cbr\u003e\u003cbr\u003eSEROTA:  What did your father think of Pinchik?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Wonderful.\u003cbr\u003e\u003cbr\u003eSEROTA:  He heard him?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, my God.  He was a guest in my home.  They were related to each other.  Just like Kwartin was related to us.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2829.0,2852.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/132","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Kwartin was related to you?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right, and Pinchik was related to us.\u003cbr\u003e\u003cbr\u003eGILDAR:  How was Kwartin related?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And Stephen S. Wise was related to us.\u003cbr\u003e\u003cbr\u003eGILDAR:  And how was Kwartin related?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Cousins.  Marriage.\u003cbr\u003e\u003cbr\u003eGILDAR:  Pinchik was Siegel was his name.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, but I know, they’re from a, they were, they were close…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2852.0,2866.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/133","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  Were you related to Robert Siegel?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.\u003cbr\u003e\u003cbr\u003eSEROTA:  ‘Cause Robert Siegel was also related to Kwartin somehow.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, but it’s going a little bit too far, yeah.\u003cbr\u003e\u003cbr\u003eSEROTA:  Different ways.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Robert Siegel used to study voice with me until he died.\u003cbr\u003e\u003cbr\u003eSEROTA:  Yes.  Did you have any other well-known vocal students?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2866.0,2884.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/134","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: I had quite a few.  You know who used to come to me quietly?  From the Met?  Peerce.  He forced, Max, Alex Lauber, because Lauber became like his valet, so he helped him with the pupils.  But when he wanted to work on certain private things, it was either myself or it was Robert Tweedy, who was a great vocal teacher.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2884.0,2910.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/135","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He’s gone, too. And Tucker.  And Tucker didn’t want Peerce to know that he’s studying with me, and Peerce didn’t want Tucker to know that he was working with me, so I kept my mouth shut. One of my very outstanding people — two of ‘em — George London.  Did you ever hear of George London?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2910.0,2930.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/136","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Sure.\u003cbr\u003e\u003cbr\u003eSEROTA:  Great basso.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  George London, I was responsible for his career.  And a guy whose career I was still more responsible, one of the greatest baritones that ever lived, in the Metropolitan Opera.  A fellow by the name of Leonard Warren. When I was leading bass-baritone at Radio City Music Hall, the chorus was kidding me around, because you know, I sang Paul Dennis.  And I did The Song of the Flea in English, and I had a chorus of at least 40 men around me.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2930.0,2955.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/137","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they told me there’s one big boy, a great big fat fellow.  One of the most gorgeous voices.  And I had my clown makeup on, and I hear this voice ringing right through the lobby.  I stuck my head out. “Hello, Mr. Dennis.”  I said, “Are you Leonard Warren?”  “Yes.”  He says, “Can I come and talk to you?”  I said, “Please.  By all means.”  I said, “Lenny, that voice is beyond politics.  Go for the Met.  You’ll make it.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2955.0,2985.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/138","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And sure enough, just like I told Placido Domingo two, three years before he — we sang, we sang opposite each other in Toledo.  In Dayton and Toledo.  Came from Toledo, Spain to Toledo, Ohio.  Lester Friedman heard him.  Lester just passed away last year, too.  And I said to him, “I give you about a year, two years, and boy, oh, boy.” When he finally opened up his mouth at the Met, he forgot about everybody.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=2985.0,3011.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/139","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of course, I prefer the musicianship and the voice of Domingo better than I do Pavarotti.  Domingo is my favorite tenor at the Met.\u003cbr\u003e\u003cbr\u003eSEROTA:  When you were a young man, did you think of becoming a cantor?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.\u003cbr\u003e\u003cbr\u003eSEROTA:  What were your objectives at that time?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3011.0,3030.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/140","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Opera.  I didn’t want to have a thing, I, I felt — I hope you’ll forgive me — at that time, that, not that I gave up Judaism, I sure did not.  I just had the feeling of love for opera.  That was all there was to it.\u003cbr\u003e\u003cbr\u003eGILDAR:  How did your father feel about you being involved in opera?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Just the opposite; he did not want me to be a cantor.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3030.0,3051.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/141","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  He didn’t want you.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.\u003cbr\u003e\u003cbr\u003eGILDAR:  How about your mother?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Although he said to me once in a while, he said, “Za glissa hamul.  Zuls no farde yomin da roym.  Daven in a Conservative temple a zuv be ba Kotchko.”  He even said Kotchko.\u003cbr\u003e\u003cbr\u003eGILDAR:  Oh, Kotchko.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, Kotchko.\u003cbr\u003e\u003cbr\u003eGILDAR:  So he didn’t mind if you, that you would daven in a Conservative synagogue.  So he was tolerant.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3051.0,3071.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/142","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: No, he was, he liked the idea of me being in the opera.  I didn’t want any part of that name of Rosenblatt.  For that reason.  Because I knew the competition.  How can I come near my father?  How can I come near this fantastic voice, I mean?  Sure, I could sing his music.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3071.0,3086.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/143","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"That’s why I always claim, until this day — fine, I’m a graduate of Hebrew Union College.  Big deal.  So they gave me the title as cantor.  So I say, I say, “I’m an opera singer who can sing cantorial music.”  And my father used to say, “I’m a cantor who can sing opera if I want to.”  That’s my answer to them.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3086.0,3102.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/144","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  How did your mother feel about it?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  She agreed with my Dad.  My mother surely forced the idea on me of becoming an opera singer.  I didn’t know how far it was going to go.  Took a chance like anyone else.\u003cbr\u003e\u003cbr\u003eIt took me three years to get my foot into the door, seven days a week, to try to get into Radio City Music Hall.  Didn’t help.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3102.0,3125.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/145","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"With Rappe.  Also a meshuggenah Hungarian.  But when he heard me sing and win the contest with the Sophie Tucker program on WHN many many years ago, they needed someone for the opera, and so I started with the opera broadcast. And he promised me that when I do that for three months-- there was no union, got paid nothing. And after my father died, we were starving (YIDDISH). We didn’t have what to eat. (YIDDISH) Worked on club dates.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3125.0,3153.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/146","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And from there on, my, really, then I started. When I once hit that music hall, and he needed me, then of course, then he used the name of Paul Dennis. He said to me in those days, “You know the name Rosenblatt, in the States they don't want.\" 1936-37. He says, “let’s get a stage name.” So I said, “you know sometimes I would sing in places where I didn’t want my father to know I’m singing on Friday night,” so I said, “I use the name of Paul Dennis.” He says, “hey, it’s a good American name. It’s short.” They like it better.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3153.0,3178.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/147","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"SEROTA:  When did you being using that name? Paul Dennis.\u003cbr\u003e\u003cbr\u003eROSENBLATT: At Radio City Music Hall. That’s the time—\u003cbr\u003e\u003cbr\u003eSEROTA: When did you being singing at City Center?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3178.0,3188.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/148","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: After the war. Or even before the war for a while, and then after the war. \u003cbr\u003e\u003cbr\u003eSEROTA: How did you come to sing on the broadcast with Maestro Toscanini? \u003cbr\u003e\u003cbr\u003eROSENBLATT: Toscanini heard me sing, doing the role called the Sacristan in Tosca. You know the Sacristan in Tosca. You know the guy who has a prayer book with him all the time and he's wiping off the clothes and takes care of the surpluses of the children and so forth.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3188.0,3210.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/149","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He heard me sing then. He was there together with (Samuel) Chotzinoff. Now I had friends of mine who were playing tricks on me by getting me club dates and there was no such date there. And I went up to, for example, up to New Rochelle somewhere and there was no existence. They thought it was a nice trick to do.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3210.0,3224.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/150","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I got a call one day from NBC and, I forgot the name, she was uh an actress at one time. She was the head of the department at that time. Called me up, “Mr. Paul Dennis please.” I said, “yes.” She says, “did you sing at the… you sang at Radio City—\" I mean at the New York City Center. At that time they were on 55th street in New York City Opera.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3224.0,3245.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/151","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I said, “yes.” She said, “well you know the maestro heard you sing. Maestro Chotzinoff (?).” I said, “Mr. Chotzinoff?” He was made the director of the orchestra. I mean, of the NBC, formerly NBC Symphony Orchestra, because Toscanini’s conducting it. And he went, Toscanini was back in Italy again. You know they beat him to a pulp because he didn’t want to play the fascist anthem, and they sent over Chotzinoff.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3245.0,3271.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/152","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He was the piano accompanist. I mean the accompanist with Jascha Heifetz. So he went over Toscanini was playing games with him too. He said, “Mr. Toscanini would like to come to United States.” He said, (UNINTELLIGIBLE) That was the late 1st cellist in the orchestra. He wrote a book about Toscanini. I can't remember his name either.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3271.0,3293.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/153","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But anyhow, that's what he used. He wanted to say, “See Mr. Smith,” so he said, “Seesmish.” And finally, of course, they got together and Toscanini came the United States. So Toscanini heard me singing. He was together there with Chotzinoff. And he wanted a certain character, a certain type and so he… I got in there when I spoke to Mr. Chotzinoff, “do you know this-and-this roll in the Traviata?”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3293.0,3318.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/154","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I said, “tell you what,” I said, “you play the page, I'll tell you what page it’s on.” 'Cause I sang the doctor in the Marquesa a million times. So the next thing I knew I was hired.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3318.0,3331.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/155","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He says, “Mr. Toscanini heard you sing.” I said, “Who? Mae--?” He said, “Maestro Toscanini. He said he wanted you.” My heart went through, but I didn't leave-- show face. And when I got in front of him for the first time in—next to studio 8H for the for rehearsals 'cause we had 20 days rehearsals before we put La Traviata on.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3331.0,3351.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/156","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the only thing that happened in my whole life, I could go through a whole story with Toscanini and myself because he hated the bass player. And the boys used to ask me, “hey what did he mean Henry?” I was standing in the circle, there's a picture right in the hallway there, and he didn't like the bass player. And he hit the top of the partitura, the score, great big old score. The cover was so old and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3351.0,3371.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/157","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He smacked it, and it flew in the air, and I ducked, and I, and he saw me duck away because it would have hit me. So, he called me over. He just went like that (hand motion to come). I came over, and he put his hand to my ear so the orchestra shouldn’t hear.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3371.0,3386.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/158","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"“I no mean this for you. This is for the bass players. For three day go eh eh eh eh.” He said it to me like that. So, and then after I got through in the second act singing my part, and Toscanini didn’t like one particular fellow who he threw out.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3386.0,3403.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/159","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"One of the soloists. He didn’t like him. So he took this other fellow there. The cast is there (MUMBLES). I got through singing my part, I sat down, it was very quiet. Then when David Sarnoff came into the orchestra rehearsal, you didn’t see him. He ducked behind the seats on the 8th floor.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3403.0,3420.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/160","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"As so Toscanini walked in. No one except the people who belonged in that place. I got through singing my part, and there was a lull. I figured, you know, he stopped, he was thinking of something. And the first thing he said, I have… nobody can take it away, “(IN ITALIAN).” And then he said it in English, “Just now you heard a master musician sing.” I said to Peerce, “Hey, who’s he talking about?” “You, ya shmo!”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3420.0,3450.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/161","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"He forgot himself and he yelled at me. And Toscanini grabbed me by the shoulder, pulled me over, says, “Take a bow.” And they love the way they take the bow and the fiddle and they hit the neck, you know, for applause. Click click click click click.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3450.0,3462.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/162","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then, of course, one time at the Maccabean Festival where the polo grounds was there, I had this Don Albert, the conductor of the Capitol Theatre Orchestra in those days, and I was doing Eili, Eili, a very simple thing. And when it came to (sings), so the cellist was going (sings). I said do la do la sol do re re. I said, “Excuse me,” I didn't, couldn't dare to tell the orchestra what's wrong. I tell it to the conductor.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3462.0,3493.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/163","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I said, “Excuse me Maestro, but,” I said, “when I say that (ITALIAN) I probably forgot to put it in the (ITALIAN) there.” He said, “It should go do re—do la sol do re re. I want (slower) do la sol do re re.” Boy the orchestra heard that click click click click click right away. They said, “Look, there's a singer that probably knows what he's doing. Made the arrangement. Alright.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3493.0,3520.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/164","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Henry, before, before we talk about some things that I’ve always been interested in, with you and your father and so forth, I want to just pin down something just really important piece of information for American Jewish music and American music history and so forth.  You mentioned Leonard Warren.  Now, Leonard Warren wasn’t his real name, of course.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Leonard Warrenofsky.  He lived in the Embassy and I lived at the Embassy Hotel, too, on 70th and Broadway.\u003cbr\u003e\u003cbr\u003eLEVIN:  All right.  So Warren, Leonard Warren was born a Jew.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3520.0,3547.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/165","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Of course.\u003cbr\u003e\u003cbr\u003eLEVIN:  Okay.  And he changed.  But unlike some of the others, who simply, like, like Perlmutter changed his name to Peerce…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Peerce, yes.\u003cbr\u003e\u003cbr\u003eLEVIN:  …for stage reasons, but not, it has nothing, nothing to do with not remaining a Jew; to the contrary.  In this case, did Warren convert to…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Catholicism.\u003cbr\u003e\u003cbr\u003eLEVIN:  …Catholicism. Because of marriage, or because…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Of course.  Because you couldn’t talk to him on any subject.  He sang like a God.  But I mean, outside of that, forget about it.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3547.0,3572.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/166","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But my question is, is it because he married someone who was Roman Catholic?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yep.\u003cbr\u003e\u003cbr\u003eLEVIN:  Because, the reason I asked is because you know that we have instances where conductors who were Jewish converted to — such as Ormandy — converted to Christianity not because of marriage, but because it was the only way to, to get a, to rise in their careers.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, I understand, but not with him, though.\u003cbr\u003e\u003cbr\u003eLEVIN:  But in this case it was for marriage.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, of course.  It was marriage.\u003cbr\u003e\u003cbr\u003eLEVIN:  All right.  Now Warren, of course, I mean…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3572.0,3595.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/167","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  She was his mouthpiece.  She was a very clever woman.\u003cbr\u003e\u003cbr\u003eLEVIN:  But the night, you remember the night he died, what happened on stage there?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I was listening, I was watching television when he died.  And he was supposed to die right after that duet that he sang from La Forza Del D’Agostino.  And he died on that stage there.\u003cbr\u003e\u003cbr\u003eLEVIN:  Right after…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He was about 48 years old.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3595.0,3616.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/168","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  That’s right?\u003cbr\u003e\u003cbr\u003eGILDAR:  What did he have?  Instant heart attack?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, yeah.  Massive heart failure.  Like Poppa, like my father.  Practically.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  Now I want to ask you something about the early years.  Now you said you came to this country when you were about four years old.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Four or five years old.\u003cbr\u003e\u003cbr\u003eLEVIN:  From Hamburg.  So you were born in Hamburg?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yes.  \u003cbr\u003e\u003cbr\u003eLEVIN:  That many — of course, obviously, you don’t have any recollections, but perhaps you have some recollections of your father’s talking about it after the fact.  I mean, what brought him to the United States?  He came directly from Hamburg to the United States.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3616.0,3642.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/169","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Very interesting.  He was making $1500 a year in Germany, in those days.  And back in 1912.  He didn’t like the idea of not letting him repeat a word during the service, repeat.  All right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3642.0,3660.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/170","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"In addition to that, he was here in America because they called him.  Someone from Germany called him to come here and give an audition at the Ohab Zedek congregation.  And instead of $1500, they offered him $1800.  Three hundred dollars difference!  That made him come to the United States. My mother, of course, she couldn’t get used to it in the beginning, because she says, “De strasses zin su smutchik da.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3660.0,3684.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/171","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The streets are so dirty she couldn’t stand a country like this.  Everything was so clean over there, and everything. Their whole lives were lived this way.  They marched like the soldier.  The German soldier loves the idea of a uniform and marching.  And this is exactly…. And Poppa loved the freedom of this country.  And believe me, what a career he made after the freedom of this country.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3684.0,3695.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/172","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They didn’t treat him so well in that congregation, either.  I’ll never forget — a grobaying, the — I’ll mention his name, I don’t care — Rosenberg, he opened a hardware store.  Poppa came one minute late.  “Why do you come one minute late to a service?”  Because he wanted to pull out some man who was being locked up in jail for something, so he shouldn’t be in prison over Shabbos.  So Poppa went all the way to Coney Island by train and then came one minute late to the congregation.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3695.0,3731.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/173","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So the President was standing at the, in the lobby, in the door, and he looked at his time, he says, “You know, you’re one minute late.” But the way he said it to my father, I said, “Just a second,” I said.  I said, “Mr. Rosenberg, you can be the President of the Ohab Zedek Congregation, but my father’s cantor for the whole world.”  And that was it. And there were other things there that he had with them.  They didn’t treat him well.  They didn’t even appreciate what he could do.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3731.0,3759.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/174","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Let me talk to you about his Chicago years.  I mean, the years when he, I’m talking about the years when he davenned for Rosh Hashanah and Yom Kippur.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  He once went to Chicago, Rosh Hashanah and Yom Kippur.\u003cbr\u003e\u003cbr\u003eLEVIN:  Was it more than once?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, once.\u003cbr\u003e\u003cbr\u003eLEVIN:  Only once?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  At the Wigwam Auditorium in Chicago.  Right near Garfield Park, not far from there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3759.0,3777.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/175","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But didn’t he daven ever in any other…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He came — oh, no — as a guest, as a guest cantor, that’s all.\u003cbr\u003e\u003cbr\u003eLEVIN:  As a guest cantor I’m talking about.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, of course.  Many times he came to Chicago.\u003cbr\u003e\u003cbr\u003eLEVIN:  Do you remember some of the places that were…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, I think Albany Park Synagogue was one of ‘em.  And…\u003cbr\u003e\u003cbr\u003eLEVIN:  Was he ever at, what they called the Russian Synagogue, or the…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3777.0,3794.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/176","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Probably in all of those, probably in all those synagogues.\u003cbr\u003e\u003cbr\u003eLEVIN:  You don’t, you don’t have any recollections…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  …or you weren’t with him or anything like that.  Yeah. Because like many communities, Chicago, Chicagoans particularly…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, they loved the cantors.\u003cbr\u003e\u003cbr\u003eLEVIN:  …I think had a particular love for your father, and so I’m wondering what the connection was more than just, it was, it should have been more than one appearance.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3794.0,3817.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/177","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Yeah, that’s where Lafonta Companini heard him in a concert, the Auditorium Theater in Chicago, near Wabash Avenue, I think.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, it’s still there.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  And he was there, he was then the leading tenor, also the general manager of the Chicago Opera.  That’s how they came to offer Poppa the role of Eliezer in La Juive.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3817.0,3836.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/178","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I want to ask you about that story.  I want to ask you about that story because we’ve heard about it, and we’ve heard bits and pieces, and we read about it and so forth.  But there’s nothing like you telling it to us.  I mean, I, as I understand it, he was offered the…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He was almost ready to take it, but somehow or other, the congregation stopped him, and then he took…\u003cbr\u003e\u003cbr\u003eLEVIN:  Which congregation stopped him?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Ohab Zedek.\u003cbr\u003e\u003cbr\u003eLEVIN:  And we’re talking about the offer from the, from what was…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Chicago Civic Opera.\u003cbr\u003e\u003cbr\u003eLEVIN:  …known as the Chicago Civic Opera Company…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  …to sing La Juive…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3836.0,3860.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/179","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  And was that, it wasn’t just one performance?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  The role of Eliezer in La Juive.  A thousand dollars a performance.\u003cbr\u003e\u003cbr\u003eLEVIN:  And how many performances?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, I don’t know.  Maybe ten performances.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yes, that sounds right.  So, $1000 a performance, and Rosa Raisa was…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  I met Rosa Raisa when I was in Chicago.\u003cbr\u003e\u003cbr\u003eLEVIN:  All right.  And so he, now, the, so it was Ohab Zedek that objected.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3860.0,3879.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/180","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: That’s right.  They objected, or somehow or other they said no, they claimed that my father was a religious man, he didn’t want to sing with women on a stage.  And they said, after all, she’s a Jewess, you know what I mean.  He wouldn’t have to, but… you can’t do it.  It’s like asking the Pope to go dance with women, you know.  In the church.  You’re not going to do it that way.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3879.0,3897.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/181","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And then of course, he was really, I mean, a fruma Yid, in every single sense of the word.  In every way, too.  And it was not easy.  He said, “No, I better stay with my own people.  I’m known as the greatest cantor in the world, or I’m known as the hazzan,” and that was all there was to it. In those days, it was, I mean…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3897.0,3916.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/182","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Now, how about, did he, did he ever go to the opera?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  And in the audience?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Very often.  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  That wasn’t a problem.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And how.  And how.  He came to, went to hear Caruso, he went to hear all of them at the Met.  At the old Met, down on 40th Street.  He loved opera as well.\u003cbr\u003e\u003cbr\u003eLEVIN:  So that didn’t present any problem, I mean…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  …in terms of…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3916.0,3935.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/183","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: He once went to the Jewish theater and some very, very religious guy in Borough Park — I found out who it was, but he didn’t know it was me.  I ripped his car to pieces.  I cut up all the leather in his car.  And I know who it was.  He took him, sent a picture of a beautiful actress in the Jewish theater, but he took the face off and he put my father’s hands on the breasts, and that’s the way he sent, he sent the picture, with my father’s face holding her.  It was printed that way; they printed it in the paper.  He sent it in.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3935.0,3969.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/184","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Mmmm.  Boy.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now tell us about, I mean, he was at Ohab Zedek for how many years, about?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He came here ’12…\u003cbr\u003e\u003cbr\u003eSEROTA:  Thirteen years, 14 years?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  About 30, 25, 30…\u003cbr\u003e\u003cbr\u003eSEROTA:  Thirteen years, 14 years I think it was.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, wait — we came here 1912.\u003cbr\u003e\u003cbr\u003eSEROTA:  Right.  And he left around ’26.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And then he died in 1933.  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  All right.  Now he…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3969.0,3990.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/185","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  He still stayed with the Ohab Zedek, but not for long before he died.  He went back to the Ohab Zedek.\u003cbr\u003e\u003cbr\u003eSEROTA:  He left, he davenned in Chicago, wasn’t it, then he went to the Sephardishe shul.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  That’s right, and from the Sephardic, he came back.  So the Sephardishe shul, he was there about two years.\u003cbr\u003e\u003cbr\u003eLEVIN:  He went to the Sephardishe shul in Brooklyn?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=3990.0,4004.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/186","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Yeah.  Then he came back to the Ohab Zedek.  Then we went…\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, during that time — by the way, he, he, he did some work with Oscar Julius, do you remember, ever during that time?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Probably just occasionally, here and there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4004.0,4018.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/187","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: He knew him.  But I’ll tell you, I found something interesting.  This — I don’t know, this, I know I never mentioned this to you.  This is really something. Oscar Julius needed an affidavit.  It was kind of a funny thing — he needed, it was, he was — actually, one of his wives had him locked up for child support payment problems, or whatever.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4018.0,4045.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/188","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So he wanted to get out, so they, so he needed an affidavit to, attesting that he had a solid career here working with cantors, and therefore, he wouldn’t be likely to flee the, flee the city while on, while….  And so the affidavit is, that Oscar Julius is you know, known to him, and works with him closely and all this, was by your father.  And in fact, I have the, I have the, in our collection of the originals, not a copy — the original signature.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4045.0,4072.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/189","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Uh, yeah, quite something.\u003cbr\u003e\u003cbr\u003eLEVIN:  But that was in the Ohab Zedek days, obviously.  But so I’m wondering whether you know more, any more about…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  No.  I have no idea.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then, what always interested me is the decision to move to, what was at that time, of course, Palestine.  I mean, how did that…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4072.0,4089.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/190","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Poppa had an idea that he wanted to go to Pale-.  He loved the country when he saw it the first time.  Well, it’s in my book, the blue book. There is a whole story about him when he saw Israel for the…\u003cbr\u003e\u003cbr\u003eLEVIN:  Before that happened, I mean, what, there were, was he involved in those days what were specifically Zionist activities, do you remember, here?  I mean, it wasn’t…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4089.0,4109.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/191","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: No, I don’t think he was involved in any Zionistic-, there were some people that wanted to sue him because he borrowed money or something like that.  And the, what do you call it?  The marshal was trying to, supposed to pick up my father, but we hid him on the Vulcania ship there, and he never came back.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4109.0,4126.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/192","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We went to Israel on the Vulcania.  There were some creditors that were after my father.  To try to collect money.  He would sign for someone else; he didn’t even borrow the money himself.  They came to him, like the Jewish, the Nir Tamid, the Jewish newspaper said, “Oh, the whole world will be religious.”  Yeah, right away, he gave money, he signed.\u003cbr\u003e\u003cbr\u003eAnd my mother begged him, I said, “Yossel, you’re a rich man.  They’ll break you.”  And they sure did.  He wound up in a bankruptcy. But even after the bankruptcy, uh, till he got away.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4126.0,4155.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/193","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  But this is, this is before you went to Israel?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, just before we went to Israel.\u003cbr\u003e\u003cbr\u003eLEVIN:  So what was the reason for going to Palestine?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, to Palestine, because he was dying to go to Palestine.  He wanted to live in the Holy Land.\u003cbr\u003e\u003cbr\u003eLEVIN:  It was just a dream that he had.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  All his life.\u003cbr\u003e\u003cbr\u003eLEVIN:  It wasn’t, but he wasn’t involved in the…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  No.\u003cbr\u003e\u003cbr\u003eLEVIN:  …in the American Zionist organization.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4155.0,4170.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/194","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  To him, it was Eretz Yisroel, and that was all there was to it.  To him, that would have, would have been the epitome of his life, to be able to live in Israel.\u003cbr\u003e\u003cbr\u003eLEVIN:  So he went with, how many of the family were you then?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  My mother and my, my mother and myself.  It was just the two of us went.\u003cbr\u003e\u003cbr\u003eAnd then they had this documentary film, The Dream of My People.  You know, singing, singing at the Makhpeila, and so forth.\u003cbr\u003e\u003cbr\u003eLEVIN:  And how long…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4170.0,4193.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/195","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  We gave 25 concerts, joint concerts, until he passed away.\u003cbr\u003e\u003cbr\u003eGILDAR:  How many days were you there before the death, his death occurred?  How long had you been there?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Couple of months.\u003cbr\u003e\u003cbr\u003eGILDAR:  Oh.  Uh-huh.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  When we were, we came in March.  We came the, Erev Pesach we came there.\u003cbr\u003e\u003cbr\u003eLEVIN:  In ’33.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4193.0,4209.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/196","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  In ’33.  And he died — that was the beginning of March, and he died June 19th in ’33.\u003cbr\u003e\u003cbr\u003eGILDAR:  Now those, the footage that, you know, the footage exists now, it’s out on a video.  Now when were…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, here and there, I think.  Barry has some, somebody else has some.\u003cbr\u003e\u003cbr\u003eGILDAR:  …when were those, when were those shots taken?  Was that soon before his demise, or was it…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, not for, in the middle of it.\u003cbr\u003e\u003cbr\u003eGILDAR:  In the middle.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4209.0,4232.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/197","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Oh, in the middle of it.  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  I mean, the scenes that we see there…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  That was…\u003cbr\u003e\u003cbr\u003eGILDAR:  …how much longer after that…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  …that night he died.\u003cbr\u003e\u003cbr\u003eGILDAR:  The night, oh.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN: So while you were filming.\u003cbr\u003e\u003cbr\u003eGILDAR:  So in other words, you’re seeing, you’re actually seeing scenes of him in the last hours…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4232.0,4245.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/198","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  …of your father, actually.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  In fact, my father pulled us into the water to go swimming in the Yam Hamelach.  Pulled, he pulled us in.  And he walked out, chhh!  Face was all pale and everything else.  Got a heart attack right there and then.\u003cbr\u003e\u003cbr\u003eLEVIN:  Where?  At the Yam Hamelach?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4245.0,4260.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/199","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: At Yam Hamelach, and then we got him into the car, we went as fast as we could to get to Jerusalem.  And they had this doctor from the Hadassah.  And I was staying where the young people were staying, with Fox, you know, it was a Rabbi Fox, who just passed away last year, too.  He was the one who ran the whole thing; he was a young fellow at that time.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4260.0,4277.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/200","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And they stayed, he stayed with me and the younger people, and Poppa stayed in Amdursky’s hotel in that time.  And of course, they called me on the phone that he’s sick, he’s not well, come over.  And they called me again and again, and by the time I ran these two long blocks from our hotel together with Fox, and as we boarded the sidewalk, there was an Arab that came down, he says, “Is that your father?”  He says, “Your father just died.”  Just like that.  He says, “He passed away.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4277.0,4304.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/201","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Of course, my mother was in shock.  And it was some job, till we came back to the United States.  He was so young — 51 years old.  It’s no age.\u003cbr\u003e\u003cbr\u003eGILDAR:  And you didn’t attend the funeral, because in Yerushalayim there’s a custom.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  We weren’t allowed to attend the funeral.  We went after they had the funeral.\u003cbr\u003e\u003cbr\u003eLEVIN:  Now what’s, what’s the reason for that?\u003cbr\u003e\u003cbr\u003eGILDAR:  Well, there’s a, there’s a minhag there in Yerushalayim …","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4304.0,4326.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/202","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I don’t know what it is.  Maybe he can tell you.\u003cbr\u003e\u003cbr\u003eGILDAR:  The family don’t go to the kvura.  Yeah.  They go after.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Then after we went to the grave to….  We were there for the shloshim, and then we came home.\u003cbr\u003e\u003cbr\u003eGILDAR:  And Kwartin and Hirschmann happened to be there?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, and how.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4326.0,4340.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/203","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  What were they doing there?  They were doing a concert or something?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  They were at the funeral; they also said some prayers there.\u003cbr\u003e\u003cbr\u003eGILDAR:  Yeah, but how is it that they were there?  Did they happen to be there?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  They happened to be there at that time.  Well, Kwartin was already living in Israel at that time.\u003cbr\u003e\u003cbr\u003eGILDAR:  ‘Cause there were no jet planes, you know…\u003cbr\u003e\u003cbr\u003eSEROTA:  Hirschmann was living in Israel.\u003cbr\u003e\u003cbr\u003eGILDAR:  No?  Oh, he was?  Oh, okay.  So they did the tehillim and el male rakhamim…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  What was it, there were 100,000 people or something, I understand, showed up?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4340.0,4363.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/204","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  More than that.\u003cbr\u003e\u003cbr\u003eGILDAR:  Really.  ‘Cause the film shows that.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Not just, not just Jewish people.  Thousands of Arabs came to the funeral.\u003cbr\u003e\u003cbr\u003eYou know we had thousands of Arabs come to our concert, like in Edison Hall when I gave a concert with Poppa in Edison Hall in Jerusalem?  They came.  With the whole Bedouin outfit and all.\u003cbr\u003e\u003cbr\u003eGILDAR:  Hmmm.  So what would a, a concert consist of?  Hazzanut, of course, and…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4363.0,4386.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/205","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Mixed program.  I would, I…\u003cbr\u003e\u003cbr\u003eGILDAR:  And some classical music, too?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yes.\u003cbr\u003e\u003cbr\u003eGILDAR:  But various…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I was the one who did the classical music.  My father did not sing.\u003cbr\u003e\u003cbr\u003eGILDAR:  Oh, you appeared also.  Did you sing…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, on every concert I appeared.\u003cbr\u003e\u003cbr\u003eGILDAR:  Did you sing duets also at the concert?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure.  And how.\u003cbr\u003e\u003cbr\u003eGILDAR:  Now, what…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sometimes we would do the duet from La Forza Del Destino.\u003cbr\u003e\u003cbr\u003eGILDAR:  Really?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  “Solenne in Quest’ora”, yeah.\u003cbr\u003e\u003cbr\u003eGILDAR:  Oh, my.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4386.0,4407.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/206","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Why not?\u003cbr\u003e\u003cbr\u003eGILDAR:  Uh-huh.  Did he do a, what operatic pieces did he sing, usually?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Una furtiva lagrima from L'elisir d'amore.  And other, all the popular operas.  Shedes Aida.\u003cbr\u003e\u003cbr\u003eGILDAR:  Did he sing Marta (INAUDIBLE)…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Marta sometimes, yes.  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  How about Yiddish?  Yiddish songs.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4407.0,4428.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/207","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  His lullaby he would sing.  Sometimes he would sing, some of the things that I did on that second recording there.  The, and the, I mean, the recording that I made.\u003cbr\u003e\u003cbr\u003eGILDAR:  Lamma Za Beba Beten (?).\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Ov Brie. (sings)\u003cbr\u003e\u003cbr\u003eLEVIN:  Things like Lamma Za Beba Beten — you sang that?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4428.0,4445.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/208","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Oh, yes.  Lamma Za Beba Beten.\u003cbr\u003e\u003cbr\u003eLEVIN:  Folk songs?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I feel very proud of the arrangement that I made of Lamma Za Beba Beten.  It’s in that new volume there.  \u003cbr\u003e\u003cbr\u003eLEVIN: Mm.\u003cbr\u003e\u003cbr\u003eGILDAR: Yeah.\u003cbr\u003e\u003cbr\u003eROSENBLATT: It’s tricky — and I love the way these people, that Professor Portnoff, and he wrote (sings) de de de de da… oh boy, what accompaniments there!  Momma zeisinyu!  Uh!  It’s nothing.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4445.0,4465.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/209","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"All I know is, I hope I’m right, to fulfill my father’s dreams, is that at least I came out with something.  It took 50 years of research to get this music together, because it was lost, it was burned in a fire.  And to bring it before the public, let them get a smattering of (UNINTELLIGIBLE).  It was not easy to put together.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, when was the fire?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  In California.\u003cbr\u003e\u003cbr\u003eLEVIN:  In the ‘20s? When your fa--","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4465.0,4493.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/210","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  No, after Poppa died.\u003cbr\u003e\u003cbr\u003eLEVIN:  Oh, after he died.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  So what kinds of things were lost there?  I mean, you, we talked about that once.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I got everything sent into a friend of mine’s house.  There was a trunk that we had that had all the classical music — everything of Schubert and Brahms and..., all the classical composers.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4493.0,4517.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/211","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Brand-new stuff — their oratorios, everything new.  We kept on, every single year, no matter what happened, I said, “Pop, come on.  I want to buy this.  I want to buy that.  I want to buy this.”  And we filled it up. In addition to that, there were special sections there of his manuscript that he wrote.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4517.0,4532.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/212","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The only thing I found… well, it was just a few things.  And the choral things — my God, until I got them together.  It was that original book, his manuscript that he wrote for the concerts, see.  Concert stage.  And that was all.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4532.0,4545.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/213","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So I had to run all over, going crazy, trying to remember some of the tunes that he never even recorded, and get that down.  That’s what I recorded, see. It was not easy.  It was a lifetime of work.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4545.0,4562.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/214","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I go to my people and try to get a grant — forget about it.  A grant?  They should have kissed my fanny a long time ago, so what the hell do I do?  I was going to take it and throw it, dump it in the basket.  I said, if the Jews don’t want it, there.\u003cbr\u003e\u003cbr\u003eIt’s the same thing — they didn’t want Israel in 19-- 1895.  Well, with the, Dr. Theodor Herzl.  They could have bought that whole land, twice as much, for $200 million from the Turks, from the Ottoman Empire.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4562.0,4586.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/215","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR: Uh-huh.\n\nROSENBLATT: They came to Germany, to the German Jews. At that time they were the wealthiest of all. Even wealthier than the people who lived in England. And you know what they said when they came to try to raise money for the Holy Land? [GERMAN]","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4586.0,4603.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/216","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: So they got it.  That’s what happened, that’s the way history turned itself around.  And so nothing happened. The same thing as I say, “Here.  The most valuable music by the greatest cantor that ever lived.  Or the history of the Jewish people.  What he created.  The precedent, the style that he set, and everything else.”  No.  They don’t give a damn anymore, and it’s gone.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4603.0,4627.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/217","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  What was your father’s impression of the growing Nazi movement in Germany?  Because it came in, in ’36.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Hitler was too young…\u003cbr\u003e\u003cbr\u003e[all talking over each other]\u003cbr\u003e\u003cbr\u003eGILDAR:  Because he was still alive when Hitler came to power.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Just about.  That’s when the refugees were coming in Israel in 1933.\u003cbr\u003e\u003cbr\u003eLEVIN:  That was just at that, in 1933.\u003cbr\u003e\u003cbr\u003eGILDAR:  But I mean, he must have still had relatives someplace or other in Europe that were threatened and so forth.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4627.0,4643.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/218","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  My family?\u003cbr\u003e\u003cbr\u003eGILDAR:  Yeah.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  About 4-500 people, with relatives and friends that was put in the gas chamber.\u003cbr\u003e\u003cbr\u003eGILDAR:  Yeah.  Your father must have had much anxiety over this situation.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, but he didn’t get the full brunt of it.  He was already gone. What I feel is, I’m not a savior. I try to do the right thing for our own people.  Saying to me, what do I, what is my retribution?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4643.0,4665.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/219","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, I’m at an age where I’m pretty busy here, teaching voice.  How much can I take?  I want to continue; I still have some very important things to write and finish off, see. And I came to Phillip Bells.  Julius Young prepared dinner on a Friday night to bring Phillip Belz and myself together.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4665.0,4689.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/220","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he came, with his Southern accent, you know, and he — of course he loved my father, and they had a choir that he sang in, in Memphis.  He was a, the man is worth today a million dollars.  And of course, very close friend, because he had a condominium next to Julius down in Florida.  Julius is also in the millions.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4689.0,4706.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/221","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And he brought us together, he said, “Henry, I want that, your father’s music published.  And get a hold of Macy, you know a man at the organization there.”  I said, “Fine.”  He questioned me like you put somebody, like an O.J. Simpson over there with the trial, that goes on.  And I didn’t like this guy — you know, a sour-puss if there ever was one.  I like people who are warm.  Give, you see.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4706.0,4731.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/222","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well anyhow, we got together with Phillip.  He said, “Mr. Belz,” I said, he says, (Southern accent) “Henry.  Call me Phillip.  You know what I mean?”  Just like when I went down South, you do concerts, she says to me, the rabbi’s wife, she says, (Southern accent) “Are you Mr. Rosenblatt?”  I said, “Yes.”  And she says, “Well, I's the Rebbetzin.”  All right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4731.0,4749.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/223","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So we got together, and he says to me, “Henry, what would you want?”  I said, “Look.  Take the music there.  You can print it, do whatever they want.”  I said, “It’s gotta go somewheres.”  He said, “Well, what do you want?”  I said, “A hundred thousand dollars.”  He says, “A hundred thousand dollars?”  He says, “Why?”  He says, (Southern accent) “That’s a lot of money.”  I said, “Yeah?”  I said, “Phillip.  (Southern accent) That’s a lot of time.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4749.0,4771.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/224","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I told him, I said, “If it’s 50 years it took me to write it,” I said, “it’s two thousand bucks a year.  It’s a joke.  It’s no money.  What does money mean?” What does he want?  I’m changing the name of this country; I’m not calling it the United States anymore.  I’m calling it M-O-N-E-Y.  I said, “That’s all.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4771.0,4784.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/225","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I said, “All I want is enough, all I want is enough grant that I can take it a little bit easier.  All right, I have my Social Security and so forth,” I said.  “I have a certain amount of money from the government, what I put in, in the Army and so forth.”  Then I said, “I make my living and with the excess I teach.”  But I said, “I’d like to give up most of the teaching.  I don’t want to give off completely, but some, most of it.”  He said, “I want you to continue to work.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4784.0,4812.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/226","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And I said, “I can’t jump around like a young fellow of 25 years old.”  I told him, I said, “Look.  Show me anything better than sex and I’ll give it up tomorrow.  And if God makes anything better, he keeps it for himself.”  That’s my answer.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4812.0,4829.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/227","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Boy, I love these two women, you know, these two.  They don’t have to put it on the tape.  But two old women, they’re 90 years old apiece.  A hundred and eighty years between the two of them.  So a friend hadn’t seen her for a long time, she says, “Oy, my God, you’re wearing a beautiful — what?  It’s a cashmere sweater, it’s beautiful.  What does the, what does the V-neck stand for?  For Victory or Virginity?”  She says, “It’s for Virginity.”  She says, “You’re a virgin?”  She says, “It’s an old sweater.”","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4829.0,4850.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/228","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  (Laughing) Very good.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  There’s a lot to be done.  Of course, I mean that I’m, maybe I can get some good exposure, finally, after all these years.  I feel I should have been gotten, given… but they’re a very strange organization and I won’t approach them.  I’m talking about the Foundation, the MacArthur Foundation.\u003cbr\u003e\u003cbr\u003eThey had this fellow, Aaron Lansky’s his name…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4850.0,4880.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/229","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Well, you can’t approach them, they…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  …coming back to the Jewish language, they gave him a grant, you know.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah.  But they, that MacArthur Foundation — you can’t approach them, they have to approach you.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  They have to approach…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4880.0,4890.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/230","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: But that’s a whole other story. I want to ask you something that Barry and you were talking about.  The Hasidic influence.  See, let’s go back to your grand-, in other words, your, were your grandparents touched or involved in Hasidic circles at all?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4890.0,4908.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/231","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I would say so, because you see my great-great-great-great-grandfather was the founder of hazzanut in 1872.  [SOUNDS LIKE] Yerecha Machotin.  That was in my family.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yerecha Machotin who?\u003cbr\u003e\u003cbr\u003eGILDAR:  Yerecha Machotin was Lindman.\u003cbr\u003e\u003cbr\u003eLEVIN:  Lindman.\u003cbr\u003e\u003cbr\u003eSEROTA:  Max Wohlberg’s favorite hazzan.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, I know, you’re from that.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  We’re a family of many generations of cantors.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4908.0,4926.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/232","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  I don’t, I don’t think I really was aware of that.  So let’s go back again.  In other words, your, your father was a direct…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Direct descendant.\u003cbr\u003e\u003cbr\u003eLEVIN:  …of Yerecha Mechota Lindman. And that’s not, — okay, and that’s not generally… we don’t think of it that way. Maybe a few people of us do, but uh-huh uh-huh.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4926.0,4943.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/233","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Hasidic. I would say definitely you’re right—\u003cbr\u003e\u003cbr\u003eLEVIN: Let’s talk about the Hasid because the question is, I mean uh, obviously your father was not a Hasid. I mean he wasn’t, neither was your grandfather, neither was his father. In other words, they weren’t born into Hasidic dynasties. They weren’t living as Hasidim.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4943.0,4958.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/234","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: I think they were also.\u003cbr\u003e\u003cbr\u003eLEVIN: You’re father’s father?\u003cbr\u003e\u003cbr\u003eROSENBLATT: I think they were.\u003cbr\u003e\u003cbr\u003eLEVIN: Because…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4958.0,4965.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/235","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: You know, wait a second, there’s another thing. For example, what he wrote, we never talked about that at all. Uhm my later brothers and myself. We made some recording when we used to sing these zemiros at home like uh…\u003cbr\u003e\u003cbr\u003eGILDAR: (sings)\u003cbr\u003e\u003cbr\u003eROSENBLATT: Not that, another one. (sings a different song)","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4965.0,4992.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/236","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We used to sing that. The (sings). That was my father’s.\u003cbr\u003e\u003cbr\u003eGILDAR:  That was printed in the Yiddishe Licht paper.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  It was his, and that was very Hasidic, too.\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, but the influence more because of…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=4992.0,5006.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/237","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Neil, I think it was all around.  It was a combination of things that just happened and brought it together.  And he came (INAUDIBLE). It reminds of software with this fellow, what’s his name?  Gable?  You know, who was the one now, he’s the richest man in the world?\u003cbr\u003e\u003cbr\u003eSEROTA:  Gates?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Gates, that’s right.  He reminds of Gates coming in with the software, all of a sudden bringing in something new that the industry never knew before.  So Poppa, I think, created that style and that motion and that…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5006.0,5031.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/238","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Yeah, but I just want, in other words, there were cases, that you have cases of certain either hazzanim or composers or whatever, who were actually born into, I mean, they were, their parents were Hasidim.  They were followers of a certain rebbe, and then they abandoned it, obviously.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  And that’s not the case here.  I mean, that’s not…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5031.0,5049.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/239","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I think maybe a little bit of abandonment, I would say.\u003cbr\u003e\u003cbr\u003eLEVIN:  Your grandfather — well, do you, what do you know about your father’s father’s…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  I never met him.\u003cbr\u003e\u003cbr\u003eLEVIN:  You never met your grandparents.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No, because he died when I was…\u003cbr\u003e\u003cbr\u003eLEVIN:  Where, they were from where?\u003cbr\u003e\u003cbr\u003eGILDAR:  Bila Tserkva.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, they lived in Romania, they lived in Russia, they lived in Poland.\u003cbr\u003e\u003cbr\u003eGILDAR:  Bila Tserkva, wasn’t it?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, Bila Tserkva was where Poppa was born.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5049.0,5069.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/240","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  And he didn’t come to, he was only in Hamburg what?  About six years?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  About six years, yeah.  He came in 1900, and we left in 19 — no.  He came in 1906 and we left in 1912.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5069.0,5077.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/241","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  During that time, he wrote some choral music that’s very interesting.  It doesn’t — and I’m assuming that it’s from that period of time, and I’ll tell you why.  Because it, as much as it goes on, it never repeats a word.\u003cbr\u003e\u003cbr\u003eGILDAR:  Which, which one you’re talking about?  The big one?\u003cbr\u003e\u003cbr\u003eLEVIN:  No, I don’t know if you’ve seen this.\u003cbr\u003e\u003cbr\u003eGILDAR:  The small book?\u003cbr\u003e\u003cbr\u003eLEVIN:  This is an, this is an unusual thing.  There’s a Ya'ale, there’s a, yeah, I think there’s Ya'ale in there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5077.0,5100.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/242","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Not the T'fillas Yosef, which was printed here in — no, that was before.\u003cbr\u003e\u003cbr\u003eLEVIN:  No, no.  No, it was technically pri-, maybe, no, you must have seen it; I take it back.  You, it, it’s…\u003cbr\u003e\u003cbr\u003eGILDAR:  Pressburg?\u003cbr\u003e\u003cbr\u003eLEVIN:  It’s a very thin book.\u003cbr\u003e\u003cbr\u003eGILDAR:  It’s a little pamphlet.\u003cbr\u003e\u003cbr\u003eLEVIN:  Like a pamphlet.\u003cbr\u003e\u003cbr\u003eGILDAR:  Yeah, that has Atta ritzatzta in there.  And B’tzeis Yisroel.\u003cbr\u003e\u003cbr\u003eLEVIN:  There’s a Ya'ale, isn’t there, in there?\u003cbr\u003e\u003cbr\u003eGILDAR:  Hayom T'amtzenu.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5100.0,5120.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/243","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Oh, yes.  I don’t have that at all.  I wouldn’t have…\u003cbr\u003e\u003cbr\u003eLEVIN:  So one can assume that that was done, or could have been done in…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  In Germany.\u003cbr\u003e\u003cbr\u003eLEVIN:  In the Hamburg.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, between the…\u003cbr\u003e\u003cbr\u003eLEVIN:  Yeah, because there’s nothing different about it, other than the fact that…\u003cbr\u003e\u003cbr\u003eGILDAR:  Lo Sachmoud is printed in there also.\u003cbr\u003e\u003cbr\u003eSEROTA:  Lo Sachmoud has repeats.\u003cbr\u003e\u003cbr\u003eGILDAR:  Plenty, yes.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5120.0,5135.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/244","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Well, that’s the one I’m on too, with Poppa.  I start with him. (sings)\u003cbr\u003e\u003cbr\u003eLEVIN:  Then we’re talking about a different… this one, this one doesn’t repeat anything.  There’s a Ya'ale, there are certain pieces in there….  But anyway, the point, the point is that was a, that was a, that was a clear directive, right?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5135.0,5152.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/245","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Well, the early recordings are practically devoid of repetition.  The early, the first recordings…\u003cbr\u003e\u003cbr\u003eLEVIN:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  …when he was very young.  The ones with the Kiyyim khayeinu, you know.  (Sings) Ki heim khayeinu, bum, bum, bum, bum.  You know.  Now, there’s hardly any repetitions.\u003cbr\u003e\u003cbr\u003eSEROTA:  What about Hayom T'amtzenu?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5152.0,5169.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/246","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR: Oh, well.  But the pieces are all straight-forward.  Mi’shebeirach, there’s a Mi’shebeirach for [UNINTELLIGIBLE], that’s just, nussach is beautifully presented, and concise and to the point, and there’s no repetition. M'loch hardly has repetition in it, either.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5169.0,5187.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/247","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Because it’s very singable, even today’s standards, when they don’t want repetition, you can sing M'loch very easily, because it just goes right through.  And it’s a beautiful composition with modulations, and interest.  And explores many different — and the nussach is perfect. I mean, for, as a study guide for the nussach.  You can use this as a perfect example. Did he sing the same — let’s say Rosh Hashanah?  If he sang T'kha b'shofar, did he always sing that composition, or did he ever improvise?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Well, sometimes he improvised.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5187.0,5219.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/248","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Did he ever change it?  Did he ever do something else?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sometimes.  It’s according.\u003cbr\u003e\u003cbr\u003eGILDAR:  If he sang the Tikanta Shabbes, let’s say, on a Shabbes.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  It was always the way, the same one, I think.\u003cbr\u003e\u003cbr\u003eGILDAR:  It was the same one?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eGILDAR:  But would there ever be any variation?  Would he ever add a phrase, a fras, a dreidl, or…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Could be.  Could be.  But it was generally speaking, the same.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5219.0,5238.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/249","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: As a general rule, in the peak of his career here, but let’s say he came here in 1912, so let’s say from 19-, so let’s say in, during the ‘20s.  He would daven twice a month, right?  Or once?  Twice a month.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5238.0,5261.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/250","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Yeah.  Yeah.  That’s right.\u003cbr\u003e\u003cbr\u003eLEVIN:  All right.  Friday night and Saturday morning.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And no, later on, it was also once a month.\u003cbr\u003e\u003cbr\u003eLEVIN:  And then eventually, that’s what I’m getting at, yeah.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure.\u003cbr\u003e\u003cbr\u003eLEVIN:  Just Shabbes Mivorkim, or…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sure, he was busy, that’s right.  He sang the main part.\u003cbr\u003e\u003cbr\u003eLEVIN:  And the rest of the time?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He was on concert tour.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5261.0,5277.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/251","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Would you say most of the time during the ‘20s he was on tour?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Either davenning a Shabbes as well as giving a concert.\u003cbr\u003e\u003cbr\u003eLEVIN:  I was going to ask you, yeah.  A guest Shabbosim — not just concerts.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.  That’s right.  As well.  Both.\u003cbr\u003e\u003cbr\u003eLEVIN:  So a lot of traveling, throughout the 1920s.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Oh, and how.  He knew all the trains from memory.  He could tell you any town, any city, and where it goes, and where it doesn’t go.\u003cbr\u003e\u003cbr\u003eLEVIN:  So he went to a lot of places?  Not just Chicago and Los Angeles.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5277.0,5298.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/252","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  I get into a train, for example.  In those days, you know, they had the sleepers with the curtain and the…\u003cbr\u003e\u003cbr\u003eLEVIN:  Right.  Berths.  Section cars.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He would take the top, one on the top, and he says, “No.  You sleep on the bottom.”  I said, “Poppa, but you know, to climb the ladder.”  “No, no, no,” he says.  “I cover my ear with one hand and I keep on saying the Kriot Sh’ma,” he says, “with the Adon Olom.  Before I go to sleep, I say it three times and I fall asleep.”  And he was dead asleep.  Fell asleep with the train riding and all.  Me, I was up all night with the wheels of the train.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5298.0,5324.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/253","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Now if…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  He was amazing.\u003cbr\u003e\u003cbr\u003eGILDAR:  Let’s say he was home on a Shabbes, and it wasn’t a Shabbes he had to daven.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  Did he go into the shul actually, and sit up on top?  Or on the bima, or did he go elsewhere to a different shul?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sometimes he would sit near the bima, yeah, he would sit.\u003cbr\u003e\u003cbr\u003eGILDAR:  He’d sit near or on the bima.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  On the bima.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5324.0,5338.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/254","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Even if he wasn’t davenning.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Sometimes not, it’s according.  He was so, such a simple person in every way.\u003cbr\u003e\u003cbr\u003eLEVIN:  But he went to that, he didn’t go to another shul?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  No.  No, no, no.\u003cbr\u003e\u003cbr\u003eLEVIN:  Even when he had off.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  It was in his own shul.\u003cbr\u003e\u003cbr\u003eGILDAR:  Was there ever pressure — “Come on, hazzan.  (YIDDISH) in the, you know, come on,” you know.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5338.0,5355.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/255","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Sometimes.  No, sometimes, sometimes.\u003cbr\u003e\u003cbr\u003eGILDAR:  Did they ever do that?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Very rare.  Very rare.\u003cbr\u003e\u003cbr\u003eGILDAR:  Did he ever daven, let’s say, if he was in a city, in a town, he went to Minyan let’s say, at Yorktown or something, that very day.  Did, did he come in, did he get up and daven, did he, for the oylem there.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5355.0,5374.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/256","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT:  Sometimes yes and sometimes not.  If he felt in the mood, he would do it.\u003cbr\u003e\u003cbr\u003eGILDAR:  Uh-huh.  In other words, he was a, that humble a man and that nice a person…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  And how.\u003cbr\u003e\u003cbr\u003eGILDAR:  There was nisht kon prima donna shestayn.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.\u003cbr\u003e\u003cbr\u003eGILDAR:  And then none of that kind of stuff.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  That’s right.  That’s right.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5374.0,5388.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/257","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Yeah.  Well, it figures.  It makes sense.  Because of the type of person he was.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Tell me the — Neil, you can tell me the truth.  Is that book an important contribution to the musical world, of the Jewish musical world, or it’s book that came out on the market.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5388.0,5404.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/258","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  Which book are you talking about?  Which book are you talking about?\u003cbr\u003e\u003cbr\u003eGILDAR:  The blue book.  You mean with Pasternak.\u003cbr\u003e\u003cbr\u003eLEVIN:  You’re talking about, in other words…\u003cbr\u003e\u003cbr\u003eGILDAR:  His book of compositions that was just…\u003cbr\u003e\u003cbr\u003eLEVIN:  You mean the one where you did the, it’s already a few years already.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah, yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5404.0,5415.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/259","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  It’s a wonderful book.  We talked about it.  I played, remember I played through some of the, some of your accompaniments?\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  I played them in this very room, several years ago.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5415.0,5427.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/260","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: And I agreed with you, that, look — that’s another subject.  I mean, we don’t have to, the, the issue of modal accompaniment.  And you know, I have strong feelings about it, too.\u003cbr\u003e\u003cbr\u003eI don’t know, I mean, look — there’s a certain Westernization anyway, there’s no question about it — there’s a certain Westernization to the construction to begin with.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5427.0,5451.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/261","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But the business — and open fifths can get tiresome after awhile, too.  But in principle, certainly, what we call today the Ahavah rabba mode, I mean…","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5451.0,5460.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/262","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"GILDAR:  Freygish.\u003cbr\u003e\u003cbr\u003eLEVIN:  …what your father probably called freygish, whatever, but neither one had described it, but whatever it is, I, I’ll tell you where I compromise a lot, if you know…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Please.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5460.0,5471.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/263","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN: …and that is at least, you have to, at least if we do a dominant–tonic harmony and so forth, we find a dominant–tonic cadence.  And look, the fact is that hazzanas, as we’re talking about it is not purely Near-Eastern.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5471.0,5488.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/264","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  It’s a mixture, and it’s, some of it is very Western, so there are places where it is still dominant, and tonic-based. However, one thing I do try, and the same thing is true of Yiddish songs, by the way, not just — I avoid at least the seventh.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  The what?","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5488.0,5500.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/265","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  The dominant seventh.\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  Even if I’ll go five-one…\u003cbr\u003e\u003cbr\u003eROSENBLATT:  Yeah.\u003cbr\u003e\u003cbr\u003eLEVIN:  …but not five-seven-one.  Take away the, that, because that, that’s somehow an in-between, to me.  So but in general, absolutely, there is such a thing, and I don’t’ think that Freed hit upon it either and with the harmonizing.  But it has to be addressed.  I think it still needs to be addressed.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5500.0,5520.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/266","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"LEVIN:  So I, I like what you did there very much.  Some of those are wonderful things.\u003cbr\u003e\u003cbr\u003eGILDAR:  Henry, perhaps you would like to, you would like to delight us with perhaps singing something for us?\u003cbr\u003e\u003cbr\u003e(ROSENBLATT SINGS \"Akavyo ben mahalelel\", ACCOMPANIED ON PIANO BY GILDAR)","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5520.0,5560.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/267","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: No, no, no — it’s the wrong note.  (Sings) Da de… that’s right.  That’s what I meant.  Oh, I say (sings) Voy may…  Oh, that’s a misprint.","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5560.0,5572.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/268","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(ROSENBLATT AND GILDAR CONTINUE)","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5572.0,5761.0"},{"id":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801/transcript/62663/annotation/269","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"ROSENBLATT: Okay.  Thank you.  Thank you.\n\nTRANSCRIPTION END","format":"text/plain"},"target":"https://milken.aviaryplatform.com/collections/1159/collection_resources/40156/file/111801#t=5761.0,5774.08"}]}]}]}