Jascha Heifetz: Early Years in Russia

9. 1912: First Trip to Germany

177 Prior to the outbreak of World War I, Berlin was one of the most important cities in the world, politically, industrially, and in terms of its standard of living. The city underwent significant development after it became the capital of the German Empire in 1871, and further growth continued from 1888 with the ascension of Wilhelm II to the throne. As industry increased, the city grew, and by the start of the 1910s, the population of Berlin and its suburbs reached over three-and-a-half million , making it Europe’s third largest city. Led by its universities and institutions such as the Royal Academy of Sciences, Berlin also became one of the premier academic centers of Western Europe. The city gained a reputation for its culture, which was showcased in its numerous museums, galleries, and educational and entertainmentestablishments . Aside from those run bythe state,Berlinboasted twenty-five private theaters, including the Deutsches Theaterheaded by the world-famous director Max Reinhardt. Berlin musical life thrived, and institutions such as the Stern Conservatory had an international reputation for providing a high level of music education. In addition to its fondness for lighter genres, the Berlin public was passionate about serious music. AmongtheseveralconcerthallsandorchestrasinBerlin,attentionfocused 1912: First Trip to Germany CHAPTER NINE 178 Jascha Heifetz on the Royal Capella and the Berlin Philharmonic Orchestra, which offered evening concerts twice a week, often with the participation of internationalstars .Thehigh-profileconcertsoftheBerlinPhilharmonicusually took place in the Philharmonic Hall and were conducted, at this time, by Arthur Nikisch, who also led the Leipzig Gewandhaus Orchestra. In addition to the Berlin Philharmonic performances, symphonic and chamber music events took place in many other concert venues throughout Berlin, including the Beethoven-Saal, the Bechstein-Saal, the Hall of the Vocal Academy, and two halls in the Königliche Hochschule für Musik. Professor Auer had visited and performed in Berlin a number of times during his long career, and he set about helping Jascha prepare for his Berlin debut. Auer’s own teacher, the great violinist Joseph Joachim, had lived in Berlin during the second half of his life until his death in 1907. In 1868, Joachim founded a school of instrumental music in the Akademie der Künste, which in 1872 became the Königliche Hochschule für Musik. For many years, Joachim performed concerts with his famous Joachim String Quartet and contributed much to the musical life of the city. Believing strongly in the abilities of his former teacher, Auer often sent his own students to Joachim for further study. In 1894 Auer sent Nalbandian to study with Joachim, and a decade later sent Elman to Berlin to perform his debut. Elman’s successful appearance on October 14, 1904, set in motion the young violinist’s worldwide career, upstaging the then-ascendant prodigyFranzvonVecsey,astudentofHubayandJoachim.Elman’sBerlin success in 1904 was followed by a London debut in 1905 and one in New York in 1908. These events secured Auer’s position in the ranks of the greatest pedagogues of the era. Elman’sappearanceinBerlinhadbeenfacilitatedbyHermannFernow, who was at the time director of the Concert-Direction Hermann Wolff. The Wolff agency was founded in 1881 by Hermann Wolff (1845–1902), a German impresario and founder and editor of a host of Berlin musical periodicals such as Neue Berliner Musikzeitung and Musikwelt. After Wolff died, the leadership of his agency passed to his widow, Louise Wolff, and to Hermann Fernow, who had been Wolff’s closest associate; the agency name remained the same. 179 1912: First Trip to Germany The concert promotion business in Berlin was ruthless, and agencies competedtoattractthebiggestnamesandconsequentlythebiggestprofits. In a conversation with Maksimilian Steinberg, composer Julia Weissberg shared her impressions of the Berlin music scene in 1910: “It is certainly very difficult to break through here, and only by living here can you see justhowmuchfoulnessisapartoftheentireconcertstagingbusiness—the Konzertdirection [Concert-Direction Hermann Wolff] and so on.”1 Success depended on Louise Wolff, and Berlin musical life was made in the salon of this powerful woman. Fernow, on the other hand, conducted the logistical side of the agency’s business. Auer and Fernow had kept up friendly relations ever since Elman’s debut in 1904. Auer found a dependable business partner in Fernow, and thus in the spring of 1912 he turned to the concert promoter to arrange Jascha’strip to Berlin. Fernow did not disappoint. Heorganized anappearance for Jascha on May 19 (OS May 6) at the Bechstein-Saal...