Michael Joseph Guzikow (1806-1837):
Bibliography
This bibliography is in reverse chronological order - latest to earliest publication, with first and last name spelling variants in several different language renderings.
NOTICE: Based on material first presented online in Alex Jacobowitz's Michael Joseph Guzikow Archives in html form Copyright © 2003 Alex Jacobowitz at <www.rainlore.demon.co.uk/Guzikow/GuzikowArchs.html>. This bibliography updates Alex Jacobowitz’s material, competes many incomplete citations and, unlike Jacobowitz’s version, is annotated following research by the author. NOTE: URLs may no longer work.
BOOKS AND ARTICLES
Heike Müns, “Kontakte zwischen jüdischen und christlichen Wandermusikanten in Ostmittteleuropa, Musik und Migration in Ostmitteleuropa, Papers presented at a conference entitled: Musiksammlungen und Sammler, Musikanten und Migranten, held in September 2000, ed. Heike Müns, München: R. Oldenbourg Verlag, 2005, 243-272. Guzikow, 264-269.
JamesLoeffler, “MUSIC: Concert Music,” The YIVO Encyclopedia of Jews in Eastern Europe, 2 vol., ed. Gershon David Hundert, Yale University Press and YIVO Institute for Jewish Research, Inc., 2008. At <http://yivo.org/downloads/Concert_Music.pdf>. The article is an online sample from the Encyclopedia, which is due to be published in 2008. A scholarly overview with brief mention of Guzikow’s place in this history.
Halina Goldberg, “ ‘Remembering that tale of grief’: The Prophetic Voice in Chopin’s Music,” Halina Goldberg, ed., The Age of Chopin: Interdisciplinary Inquiries, Bloomington, IN: Indiana University Press, 2004, 54-92.
55: “In light of … the lasting association between Chopin and Mickiewicz, it is tempting to believe that Chopin was the model for Mickiewicz’s Jankiel. There is no explicit evidence to support this claim.”
n3: “Among others, Josiek Guzikow, the Jewish straw fiddle virtuoso and improviser, amazing audiences in Poland and abroad, has been advanced as a plausible candidate.”[Both refer to Adam Mickiewicz’s epic poem Pan Tadeusz in which Jankiel is a Jewish tavern proprietor and dulcimer-playing musician.]
Myles W. Jackson, “Physics, Machines and Musical Pedagogy in Nineteenth-Century Germany,” History of Science, XLII, 2004, 371-418. Online at <www.shpltd.co.uk/jackson-physics.pdf>. In discussing the rise of the singular virtuosic talent, Jackson recalls that Liszt was accused of “flashy pandering” and was accused by the critics of being a charlatan because of his dazzling “showy” performances.
396: “It seems that Liszt was well aware of this fine line demarcating true virtuosity from charlatanry. A decade later Liszt himself accused the Chassidic musician Michael Joseph Gusikow (who constructed an instrument out of wood and straw resembling a xylophone) of the same offence, describing him as the musical juggler who plays an infinitely large number of notes in an infinitely short period of time, and draws the most possible source out of two of the least sonorous materials. This is the prodigious overcoming of difficulty that all of Paris is now applauding.”
Heike Müns, “Auf den Spuren jüdischer Wandermusikanten,” ed. Karl E. Grözinger, Klesmer, Klassik, jiddisches Lied. Jüdische Musikkultur in Osteuropa (Wiesbaden: Harrassowitz, 2004), 13-38. Josef Gusikow, 33-36, 37.
Marian Fuks, "Musical Traditions of Polish Jews," Polish Jewish Music. Sources and Studies [Abstracts of Articles], Vol. 6, No. 1 (Summer 2003), np. Fuks (b.1914) is a leading Polish scholar of Polish-Jewish music and traditions.
“This article provides a summary of Marian Fuks's book, Muzyka Ocalona: Judaica Polskie [Rescued Music: Polish Judaica], published in Warsaw by Wydawnictwo Filmu i Telewizji in 1989. [Translated by Maria Piłotawicz.] All notes added by Maja Trochimczyk.”
R. Larry Todd, Mendelssohn, A Life in Music, New York: Oxford University Press, 2003.
14: Fanny Hensel geb. Mendelssohn Bartholdy saw Guzikow in Berlin assembling his instrument in full view of the audience before the start of the concert. 606n48: a letter to family friend Karl Klingemann, February 12, 1836 with the source Sebastian Hensel, The Mendelssohn Family (1729-1847) From Letters and Journals, trans. Carl Klingemann, 2 vol. in 1, reprint of 1881 edition, Honolulu: University Press of the Pacific, 2005. Hensel, II, 3-5, dates a second portion of a letter written over a period of weeks from Fanny Hensel to Klingemann on February 8, 1836.
314: FMB describes Guzikow as a “ ‘phenomenon’ ‘inferior to no virtuoso in the world,’ “:606n47: in a letter from FMB to his mother Lea, February 18, 1836.
András Borgó, “Volksmusikinstrumente der jüdischen Landbevölkerung in Ostmitteleuropa,”Studia Musicologica Academiae Scientiarum Hungaricae, Vol.44, Nos. 1-2, February 2003, 175-190.
Jim Samson, Virtuosity and the Musical Work: The Transcendental Studies of Liszt, Cambridge: Cambridge University Press, 2003. Guzikow, 81.
The Harvard Dictionary of Music, ed. Don Michael Randel, Cambridge: Belknap Press, 2003. See: Guzikow. [The Concise Harvard Dictionary of Music has no entry for Guzikow.]
Jolanta T. Pekacz, Music in the Culture of Polish Galicia, 1771-1914, Rochester, NY: University of Rochester Press, 2002. Michal Guzikow, 136, “dazzled the Lwów audience with concerts on a harmonium which he himself had constructed.”
Yale Strom, The Book of Klezmer:the History, the Music, the Folklore, Chicago: A Capella Books, 1st ed., 2002. Page 13, Gusikow’s straw fiddle is described as a “Belorussian folk instrument.”
François Lilienfeld, Die Musik der Juden Osteuropas. lomir ale singen, ed. Petra Goldman, Zürich: Chronos, 2002. Gusikow, 100-101 [cites years as 1809-1837]
Rita Ottens and Joel Rubin, Jüdische Musiktraditionen, Kassel: Gustav Bosse Verlag, 2001. Michael Joseph Gusikow, 58-59.
Moshe Beregovski, Jewish Instrumental Folk Music: The Collection And Writings Of Moshe Beregovski, , transl. and ed. Mark Slobin, Robert Rothstein and Michael Alpert, Syracuse: Syracuse University Press, 2001.
Moshe Beregovski (1892-1961), Soviet ethnomusicologist and folklorist, collected about 1,500 Jewish, Russian and other East European folk songs during the interwar period. He recorded and transcribed them, and his archival collection has only late in the 20th century been discovered in Kiev and made available by a number of Klezmer scholars.
Frans C. Lemaire, Le destin Juif et la musique. Trois Mille Ans d’Histoire, Paris: Fayard, 2001. Joseph Guzikov, 504-505.
Guido Facchin, Le percussioni, enl. ed., Torino: EDT/Società Italiana di Musicologia, 2000. Guzikow, 344.
: Słownik, Wydawnictwa Szkolne I Pedagogiczne, Spółka Akcyjna, 2000. Guzikow, 224.
Mark Slobin, Fiddler on the Move: Exploring the Klezmer World, Oxford: Oxford University Press, 2000: Mikhail Guzikov, 68.
Seth Rogovoy, The Essential Klezmer: A Music Lover’s Guide to Jewish Roots and Soul Music, from the Old World to the Jazz Age to the Downtown Avant-Garde, Chapel Hill, NC: Algonquin Books of Chapel Hill, 2000. Michael Joseph Gusikow, 30-32.
Henry Sapoznik, Klezmer! Jewish Music from Old World to Our World, New York: Schirmer, 1999, 2001, expanded ed., 2006. [In the 1999 ed., the opening chapter on Guzikow relies on work of Joshua Horowitz, according to Alex Jacobowitz.]
Steven E. Aschheim, Brothers and Strangers: The East European Jew in German and German Jewish Consciousness, 1800-1923, Madison: University of Wisconsin Press, 1999. Page 25: “To be sure, Polish Jewish exoticism seemed confirmed by the occasional eccentric appearance of the German cultural scene of characters like the boorish but brilliant philosopher Solomon Maimon, and some years later, of the talented xylophonist Mikhail Gusikow, who on his extensive concert tours of Europe made it a point of performing to high society in full Orthodox garb.” The author’s footnote cites as his source Herbert Kupferberg, The Mendelssohns: Three Generations of Genius, New York: Scribner’s, 1972, 183-184, which has a somewhat longer description of the Gusikow’s dress and of Felix Mendelssohn’s response to performer’s artistry.
Ezra Mendelsohn, ed., People of the City: Jews and the Urban Challenge, Oxford: Oxford University Press, 1999. Papers of the Symposium, Studies in Contemporary Jewry, Annual XV. Guzikov, page 36.
“Γүэиков Осип”: Памяць: гісторыка-дакументальная хроніка Шклоўскага раёна.- Мн.: Універсітэцкае, 1998. С.74-75. (“Guzikov Osip”:Memory: Historical-Documentary Chronicle of the Shklov District, Minsk: University, 1998, pages 74-75.)
See www.mlib.basnet.by/kray/shklov/
Eva Weissweiler, ed., Fanny und Felix Mendelssohn: “Die Musik will gar nicht rutschen ohne Dich”. Briefwechsel 1821 bis 1846, Berlin: Propyläen Verlag, 1997.
217 In Fanny’s February 20, 1836 letter to Felix, she writes: “Deine polnische Judengeschichte ist sehr gut. Der Kerl ist wirklich ein Phänomen, er macht hier Furore. Wenn ich nur begreifen könnte, wie Holz auf Holz Ton gehen kann.”
454n69 Weissweiler explicates the correspondence between Fanny and Felix about Gusikow with extracts from their letters to Felix Moscheles and Ferdinand Hiller. Weissweiler also notes Eric Werner’s problematic translations of Fanny’s epistolary remarks about Gusikow from which Werner deduced Jewish self-hate on Fanny’s part. (See Eric Werner, Mendelssohn. A New Image of the Composer and His Age, trans. Dika Newlin, The Free Press of Glencoe, 1963, 283-285.)
Anna Czekanowska, Polish Folk Music: Slavonic Heritage, Polish Tradition, Contemporary Trends, Cambridge Studies in Ethnomusicology, Cambridge: Cambridge University Press, 1996.
172: figure 30(a) described as “Jewish dulcimer player Guzikow with his ensemble, 1835.” [It is a crude sketch of Guzikow (allegedly) standing at a waist-high table upon which sits the “dulcimer” he plays with a mallet in each hand. At his sides are a sitting cellist (left) and a standing violinist (right) with Guzikow standing to the front of the others. All are dressed in ankle-length caftans buttoned up to their necks, and all wearing boots and round caps. All have side curls while only two are bearded including Guzikow. There is no artist attribution but there is a note in Polish on the bottom of the image: “guzików źyd polski.”] The image source is listed as“State Archive of the City of Cracow, photo. S. Michta.” See Iconography.
Jewish Encyclopedia of Russia (Rossiyskaya Evreiskaya Entsiclopediya); 1st ed.; Moscow, 1995. Guzikov, Mikhael Josef - Entry #2039.
John S. Beckford, “Michal Jozef Guzikow: Nineteenth-Century Xylophonist, Part I,” Percussive Notes, 33–3 (June, 1995), 74–76; “Michal Jozef Guzikow: Nineteenth-Century Xylophonist, Part II,: Percussive Notes, 33–4 (August, 1995), 73–75.
Die Musik in Geschichte und Gegenwart, Kassel; Bärenreiter/Stuttgart: Metzler, 1994-. Sachteil, vol. 9, col. 2099, provides life years for Michał Józef Guzikow as 1809-1837.
Rita Ottens and Joel Rubin, Klezmer-Musik, Kassel: Bärenreiter Verlag, 1990 / München: Deutscher Taschenbuch Verlag, 1990. Chapter on Gusikow, 157-170, based largely on Sadan (1947), see below. [pubd 1999?]
Irme Druker, Michoel-Joisef Guzikow: roman, esey, Moskwe: Farlag Sowetski Pisatel, 1990. [Yiddish] Druker (1906-1982), a Yiddish writer, novelist and essayist, spent her life in Russia. Her novel Klezmer was published in 1940 and reissued in 1976. Klezmerwas based on the lives of the violinist Petr Stoliarskii who was a professor at the Odessa Conservatory and his teacher, the klezmer violinist Arn-Moyshe Kholodenko, known as Pedotser; see Bob Rothstein at <www2.trincoll.edu/~mendele/vol14/vol14030.txt>. Druker was dedicated to Yiddish culture while remaining active in the All-Ukrainian Union of Proletarian Workers; see Gennady Estraikh, In Harness: Yiddish Writers’ Romance With Communism, Syracuse: Syracuse University Press, 2005, pages 128, 148, 165.
Marian Fuks, Muzyka Ocalona Judaica polskie [Rescued Music, Polish Judaica], Warsaw: Wydawnictwa Radia I Telewizji, 1989. Guzikow, 40-46. Cites Wielka encyclopedia ilustrowana, t. XXVII-XXVIII, 180-181.
Opposite page 49 is an image of “Jósef Michał Guzików” which is a poor reproduction of the Brandt lithograph of Guzikow with no attribution, facing left, with the straw fiddle. Two interesting images follow page 32:
§ “Jankiel cymbalista ‘Pana Tadeusza’ (Maurycy Trębacz)”
NOTE: Maurycy Trębacz(1861-1941; Polish). Gold Medal at the San Francisco World Exhibition of 1894. Starved to death in the Lodz Ghetto. This and other renderings of Jankiel in paintings, show him as a bearded, elderly Jew.
See Ezra Mendelsohn, Painting a People: Maurycy Gottlieb and Jewish Art, Hanover: Brandeis University Press, 2002, 80-81, especially Michal Andriolli’s 1881 “Jankiel’s Concert” 80, fig. 39.
§ “Mordko Fajerman – cymbalista (podobno prototyp Mickiewiczowskiego Jankiela”
Charles Suttoni, trans., annot., An Artist's Journal: Lettres d'un bachelier ès musique, 1835-1841,Chicago: University of Chicago Press, 1989.
“Lettres d’un bachelier ès musique” was first published as a series of twelve articles in La Revue et gazette musicale de Paris, 1837–1839. Modern commentators claim great praise from Liszt about Guzikow whereas in fact the text of his published remarks are quite snide and acidic – not at all pro-Guzikow. In Suttoni’s edition, Liszt says:
19 “Thus, let us get back to Paris. Immediately upon my arrival I stumbled across a marvel, a glory of wood and straw, across Mr. Gusikow, the musical juggler who plays an infinite number of notes in an 20 infinitely short time and draws the greatest possible sonority from the two least sonorous bodies. It is a prodigious example of ‘the difficulty overcome’ which all Paris is applauding right now. But what a pity it is that Gusikow, the Paganini of the Boulevards, did not apply his gift, one might even say his genius, to inventing an agricultural instrument or to introducing some new form of husbandry to his country. In which case, he might have enriched an entire nation, whereas his talent, being misguided, has produced nothing but musical inanities to which the charlatans who write feature articles for the newspapers will ascribe incalculable value.”
19-20n12 “first appeared in Paris at the Opéra-comique on 30 November 1836 and then gave several more concerts during the following months, including an especially well attended one at the Salle Pleyel on 27 December.”
Liszt continues to mock “criticism” – meaning music critics – and then says:
20: “The elegant world, which entertains itself with Gusikow’s truly amazing performance, exhausting all its enthusiasm to admire the rapid play of his wooden mallets on a bed of straw, hardly condescends as yet to look into the fine and noble attempt at progress by the dedicated and conscientious Professor Mainzer.” 20n14: “Joseph Mainzer (1801-1851), a German-born priest who devoted his career to teaching singing….”
See also Paul Metzner, Crescendo of the Virtuoso: Spectacle, Skill, and Self-Promotion in Paris during the Age of Revolution, Berkeley: University of California Press, c1998 1998, in which the author translates the first Liszt letter mentioning Guzikow. The text is online at <http://ark.cdlib.org/ark:/13030/ft438nb2b6/> and follows:
“Liszt described Gusikow as, the musical juggler who plays an infinitely large number of notes in an infinitely short period of time, and draws the most possible sound out of two of the least sonorous materials. This is the prodigious overcoming of difficulty that all of Paris is now applauding. It is greatly to be regretted that M. Gusikow, the Paganini of the boulevards, has not applied his talent, one could even say his genius, to the invention of some agricultural instrument or to the introduction into his country of some new crop. He would then have enriched an entire population; instead, his talent gone astray has only produced a musical puerility, and the charlatanism of the newspapers will not succeed in endowing it with a value it cannot really have.[73] “
n73. The source of the quotation: Liszt [and d’Agoult], “Lettres d’un bachelier ès musique” (first published as a series of twelve articles in La Revue et gazette musicale de Paris in 1837–39), in Pages romantiques, p. 108. On Gusikow: Fétis, “Gusikow,” in Biographie universelle des musiciens, vol. 4, pp. 165–66; Sigmund Schlesinger, Joseph Gusikow und dessen Holz- und Stroh-instrument (Vienna: F. Tendler, 1836); numerous reports of Gusikow’s tour in La Revue et gazette musicale de Paris in 1836 and 1837. Thanks to Prof. Heidi Tilghman for her help with Schlesinger’s book.”
Marcia J. Citron, comp., ed., trans., introd., The Letters of Fanny Hensel to Felix Mendelssohn, New York: Pendragon Press, 1987.Felix Mendelssohn was in the audience at Guzikow’s concert in Leipzig about which he wrote to his sister Fanny: 204n4: “I’m curious if you all liked Gusikow as much as I. … By the way, I haven’t been so entertained at a concert in a long time, for he is a true genius.” (Leipzig, February 18, 1836).
203: Fanny replied: “Your story of the Polish Jew is very good. The rascal is truly a phenomenon - he’s creating a furor here.” (Berlin, February 20, 1836).
John Stephen Beckford, A Comprehensive Performance Project in Percussion Literature With an Essay Entitled Michal Jozef Guzikow's Influence on the Introduction into Europe of the Xylophone as a Concert Instrument, DMA Diss., University of Iowa, 1986. [Condensed in Percussive Notes, 1995. See above.]
The New Grove Dictionary of Musical Instruments, ed. Stanley Sadie, 1984. Xylophone.
James Blades, Percussion Instruments and Their History, London: Faber & Faber, rev. 1984. Originally published 1970. 307: “Mendelssohn further expressed his admiration of Gusikow’s performance by acting as his accompanist at one or two public concerts.” Blades (1901-1999), a leading English percussionist and scholar in his field, does not provide the source of this claim and nothing in the primary sources supports it.
I.K. Tiszenko, “Belorusskij orfej,” [Belorussian Orpheus] Néman, V (1983). Néman is a journal of literature, criticism and fiction. This issue was published during the era of the Byelorussian SSR. It is still published in Minsk, now by the Ministry of Information of the Republic of Belarus. The area is known historically as Byelorus or White Russia, and Guzikow was born there in Shklov.
Moshe Beregovski, Old Jewish Folk Music. The Collections and Writings of Moshe Beregovski, transl. and ed. Mark Slobin, Philadelphia: University of Pennsylvania Press, 1982.
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie (1980), London: Macmillan, 1980. Michal Jozef Guzikow, VII, 861.
Marian Fuks, “Josef Michal Guzikow - ein vergessenes Genie der Musik,” [Josef Michal Guzikow - a forgotten musical genius],transl. from Polish, Aus dem musischen Tagebuch: Figuren/Essays/Skizzen; Polonica, Warschau: Juedisches Historisches Institut, 1977.
Marian Fuks, “Józef Michał Guzikow: zapomniany geniusz muzyczny” [Józef Michał Guzikow: a forgotten musical genius], Biuletyn Żydowskiego instytutu historycznego w Polsce, II (1971), 61–72.
Bathja [Bathya] Bayer, “Music,” Encyclopedia Judaica, (Jerusalem: Macmillan, 1971), XII, 554-566, 664-668. Bayer (1928-1995; emigrated to Jerusalem in 1936), musicologist and songwriter. [Includes mention of Guzikow?]
Encyclopedia Judaica, (Jerusalem: Macmillan, 1971), “Guzikow,” VII, 983. Bibliography: Sacheverell Sitwell, Splendours and Miseries [London: Faber & Fabrer, 1943 and the source is probably the essay “Orpheus and His Lyre. II: Hurdygurdy” see below], Sadan [see below] and Alfred Sendrey, “Music,” 3529, 4098-4984, 5812-5817. [Alfred Sendrey, Bibliography of Jewish Music, New York: Columbia University Press, 1951.] [Alfred Sendrey (1884-1976)]
Sibyl Marcuse, Musical Instruments. A Comprehensive Dictionary, New York: Doubleday, 1964. Under Xylophone, page 591: “J. Guslov, [sic] a Russian who concertized with it.”
Joachim Stutschewsky/Stutchevsky, “Haklezmorim, toledotayhem, orekh hahayim. v’yistrotayhem,” Jerusalem, 1959. [Hebrew] Stutschewsky (1891-1982; born in Poland, moved to Vienna in 1921, emigrated in 1938 to then Palestine) was a musicologist, teacher, composer and cellist of the Kolisch Quartet in Vienna.
Joaquin Pena, Hihinio Angles and Miguel Querol Gavalda, Diccionario de la musica labor, Barcelona: Editorial Labor, 1954, 2 vol.
Sacheverell Sitwell, Selected Works, Indianapolis: Bobbs-Merrill, 1953/London: Robert Hale Ltd., 1955.
Sitwell (1897-1988) was an English art and architecture critic, poet, essayist and travel writer. In Selected Works is his essay "Orpheus and His Lyre. II: Hurdygurdy," on pages 222-254, originally published in 1943. The essay is a short and very mannered literary biography of Michael Joseph Gusikov, a discussion of his musical genius, an impressionistic view of life and music on the land, and the poverty of Jews and peasants in early 19th century Russia and Romania. Sitwell published several composer biographies including Mozart. His Liszt (London: Faber & Faber, 1934), was subsequently reissued in revised editions.
Arthur Jacobs, comp., Music-Lover's Anthology by. [Winchester Publications, 1948]. Review in The Musical Times, Vol. 90, No. 1275 (May, 1949), 155, mentions inclusion of Guzikow bio.
ha-Menagen ha-mufla: haye Yosef Mikha’el Guzikov u-sevivehem, [The Great Player: Joseph Michael Gusikov and His Environment] Tel Aviv: M. Nyuman, 1947. Dov Sadan (1902-1989; born Berl Shtok-Shperber in Brody, Galicia) was a noted Hebrew and Yiddish scholar. He emigrated to then Palestine in 1925. See Leonard Prager, “Galitsianer II,” Mendele: Yiddish Literature and Language, Vol. 4.303, January 31, 1995. The Prager article, unpaged, is at the online forum Mendele: Yiddish Literature and Language www.ibiblio.net/pub/academic/languages/yiddish/mendele/vol4.303 “The father of the flutist and xylophonist Mikhoel-Yoysef Guzikov (1806―1837), the most well-known klezmer of the early 19thcentury, is supposed to have played clarinet in the Belorussian region of Mogilev (Sadan, 1947, p. 14).” Quoted from Joel E. Rubin with Rita Ottens, Rezensionen [Book Reviews]: Winkler, Georg: Klezmer, Merkmale, Strukturen und Tendenzen eines Musikkulturellen Phänomens, Bern: Peter Lang, 2003, page 299. Full text of the highly critical review is in English online at www.rubin-ottens.com/rott/uploads/rubin%20winkler.pdf.
, Najpiękniejsza ze wszystkich jest muzyka polska: szkic historycznego rozwoju, T. Gieszczykiewicz, 1946; Polskie Wydawnictwo Muzyczne, 1958, 1984.
Reiss (1879-1956) was an eminent Polish musicologist. See also Reiss, Almanach Muzyczny Krakowa, 1780-1914, 2 vol., Kraków: Tow. Miłośników Historii i Zabytków Krakowa, 1939, I, 55. Includes a compilation of concert appearances, noting one for Guzikow.
“Shklover mit wemmen Europa hat geklungen,” Der Morgen Zhurnal (New York), July 21, 1946. [Yiddish newspaper]
Abraham Zebi Idelsohn, Jewish Music in its Historical Development, New York: Tudor, 1944. Michael Joseph Gusikow, 458-459. Reprinted with a new introd. Arbie Orenstein, New York: Dover, 1992
Davar LaYeladim (Tel Aviv), Vol. 16, section 12, 3rd of Teveth, 5703 (1943). [Hebrew] A periodical of children’s literature.
Alexandria Vodarsky-Shiraeff, comp., Russian Composers and Musicians. A Biographical Dictionary, New York: H. W. Wilson, 1940. Unabridged reprint Da Capo Press, 1969. Entry on page 53: “Guzikov, Mikhail Iosifovich, 1809-1837.” Shiraeff (1898-1977) was a cataloger at the The New York Public Library (see review in Music Educators Journal, XXVII:3 (1940), 38).
Baker’s Biographical Dictionary of Musicians, 4th rev. ed., New York: G. Schirmer, 1940. Entry on “Guzikov, (Michael) Joseph” from S. Schlesinger (1836). The entry appears in the 8th ed, rev. Nicolas Slonimsky, Schirmer Books, 1994, as “Guzikov, Michal Jozef.”
Carlo Schmidl, Dizionario universale dei musicisti, 2 vol., Milan: Sonzogno, 1937: Gusikow, Michele Giuseppe, II, 682; Supplemento, Milan: Sonzogno, 1938. Schmidl (Trieste 1859-1943) was a music publisher, editor and collector of theatre and music documents and publications. In 1924, he created the Civico Museo Teatrale Carlo Schmidl in Trieste, which still exists.
Erich Mendel/Eric Mandell, “Michael Joseph Gusikow zur 100. Wiederkehr seines Todestages am 21. Oktober,” Israelitisches Familienblatt (Berlin), No.42, October 21, 1937, p. 18. Mendel/Mandell (1902-1988) was a cantor, composer, collector of Jewish liturgical music and scholarly researcher in Bochum from 1922 to 1939. He emigrated to Philadelphia in 1941. See: Erich Mendel/Eric Mandell – Zwei Leben für die Musik der Synagoge,“ Hrsg. Manfred Keller, mit einer Studie von Ronna Honigman; Essen: Klartext Verlag, 2006.
Emil Farkash on Guzikow – [in Russian?] Chwila (Lvov/Lemberg), #6675, October 21, 1937. Chwila (The Moment), was a Zionist daily newspaper published in Polish, 1919-1939, in Lemberg/Lvov, today L’viv, Ukraine. No further information on Emil Farkash.
Paul Frank and Wilhelm Altmann, Kurzgefasstes Tonkünstler Lexikon: für Musiker und Freunde der Musik, Regensburg: Gustave Bosse, 1936. The original work, a biographical dictionary, was published in 1860 by Carl Wilhelm Merseburger (1816-1885), a music publisher and writer on music using the pseudonym Paul Frank, as Kleines Tonkünstlerlexikon. After many revised editions, a reissue of the 14th edition (1936) was reprinted intact as the 15th edition with a supplementary volume planned for the years 1937-1972 to be published subsequently (Wilhelmshaven: Heinrichshofen’s Verlag, 1971); rviewed in Notes, 2d ser., vol. 29, no. 3, 1973, page 448. Altmann (1862-1951) was a violinist, music historian and musicologist and in 1926, becoming the successor to Frank, expanded Frank’s standard reference work and kept it in print up to 1936. Both Frank and Altmann have entries in Grove Music Online ed. L. Macy (Accessed 15 December 2007), http://www.grovemusic.com.
Żydzi w Polsce odrodzonej: działalność społeczna; oświatowa i kulturalna, with contributors Ignacy Schiper, Aryeh Tartakower and Aleksander Hafftka, Nakł. Wydawn. "Żydzi w Polsce odrodzonej," 1932. Ignacy Schiper (1884-1943; born Yitskhok Shiper) was a lawyer, essayist, cultural and economic historian, folklorist and Yiddish theatre critic in Warsaw.
Hugo Riemann, ed., Musiklexikon, Mainz: 1905, 1916, 1929 editions. Entry for Gusikow does not appear after the 1929 edition. [Karl Wilhelm Julius] Hugo Riemann (1849-1919), German musicologist, music historian and theorist, teacher and composer whose Musiklexikon, first published in 1882, became a standard reference.
Literature
RIEMANN, (KARL WILHELM JULIUS) HUGO, Grove Music Online ed. L. Macy (Accessed 15 December 2007), <http://www.grovemusic.com>.
Alexander Rehding, Hugo Riemann and the Birth of Modern Musical Thought (New Perspectives in Music History and Criticism No. 11), Cambridge: Cambridge University Press, 2003.
Michael Arntz, Hugo Riemann (1849-1919): Leben, Werk und Wirkung, Cologne: Concerto Verlag, 1999.
Isaac Josifovich Piroshnikoff/Y. Pirozshnikov, “Der stroyner tsimbl un zayn erfinder (tsum 80-stn yortsayt fun Mikhe Josef Gusikow),” Tsuk, XXII (May), 1917, 315-318.
Piroshnikoff (1859-1933) was a musician and music publisher. See note of his death in American Jewish Year Book for 1933. He also wrote Idishe Sprikhverter [Yiddish Proverbs], Star Hibru Bok Co., 1927.
Zukunft (New York), vol. 22, Section 5, May 1917. [Yiddish - Di Tsukunft]
Zukunft (New York), vol. 20, Section 1, January 1915, 62-63. [Yiddish - Di Tsukunft]
, Zusatz-band zur Geschichte der K.k. Gesellschaft der Musikfreunde in Wien. Sammlung und Statuten, Wien: A. Holzhausen, 1912. [Uncertain if Guzikow is mentioned on page 135] Mandyczewski (1857-1929) was a musicologist, composer, conductor and teacher. From 1879 to 1881, he was the conductor of the Vienna Singakademie. From 1887 to 1929, he was the archivist and librarian of the Gesellschaft der Musikfreunde in Vienna. In 1897, he began teaching at the Vienna Conservatory as Professor of Music History and Musical Instruments. He edited the complete edition of Franz Schubert's works, began a complete edition of Joseph Haydn's works and, together with his pupil Hans Gál, edited Brahms's complete works.
Mendel Silber, Jewish Achievement, St, Louis: Modern View Publishing Co., 1910, p. 32.
Adolph Goldberg and Karl Ventzke, Porträts und Biographien hervorragender Floten-Virtuosen, -Dilettanten und -Komponisten, Herausgegeben und mit einem Vorwort versehen von Karl Ventzke, Celle: Moeck Verlag, 1987. Series: Edition Moeck 4037. Reprint des Privatsdrucks Berlin 1906. Guzikow, ?
Brockhaus’ Konversationslexikon, (Leipzig/Berlin/Wien: F. A. Brockhaus, 14. Auflage, 1894-1896), XV, 440: “Obgleich seit dem 15. Jahrh, bekannt, wurde die S. erst von Iwan [sic] Gusikow (gest. 21. Okt. 1837 in Aacken), der sie bedeutend vervollkommnete, unter dem Namen Holzharmonika zu Konzertvorträgen angewandt.”
James Duff Brown, Biographical Dictionary of Musicians. With a bibliography of English writings on music, Paisley, Scotland: A. Gardner, 1886.
David Baptie,A Handbook of Musical Biography,London: W. Morley, 1883.
John Weiss, The Immortal Life, Boston: Lockwood, Brooks & Co., 1880. [Guzikow at pages 78-79. The book concerns the author’s philosophy on religion, spiritualism and immortality.] Weiss (1818-1879) was an American writer, preacher and translator of Goethe.
78: “We have at length discovered that even the wood-fibre of each tree has its own private and inimitable note, and that where a forest stands there is an orchestra imprisoned beneath the bark, as if spelled in flight from some Apollo. There was a Polish Jew, named Guzikow, who learned the counterspell, and released these comrades of the gamut, to delight all hearers.”
François-Joseph Fétis, Biographie Universelle des Musiciens et Bibliographie Générale de la Musique, 2d ed., Paris: 1874, IV, 165–166. Reprint Brussels: Culture et Civilisation, 1972. Fétis (1784-1871) was an eminent Belgian musicologist, music theorist, critic, teacher and composer. In 1827, he founded the Revue musicale. The first edition of his Biographie Universelle desMmusiciens (Brussels, 1835–44) went though many subsequent printings until the end of the 19th century. He met Guzikow in Belgium during the musician’s western European tour and Fétis’ interview was transformed into an article which appeared as an entry in his Biographie Universelle. http://en.wikipedia.org/wiki/Josef_Gusikov
Karol Józef Teofil Estreicher, Teatra w Polsce, Państwowy Instytut Wydawniczy, reprint 1992, 450. In three volumes originally published 1873-1879. Estreicher (1827-1908) was a noted Polish bibliographer, literary critic and historian of literature and theatre and the deputy director of the new Main Library of the Main School in Warsaw, formerly called the State Library. From 1868 to 1905, he was director of the Jagiellonian Library in Cracow which he had helped to build. Karol Józef Teofil Estreicher, Bibliografia Polska, eds. 1870, 1915, 1929, 1965, 1987. In the 2d ed. (1970), IX, 358, the entry is “GUZIKOW Michal Józef.” Estreicher founded Bibliografia Polska in 1870 and was the author of the first 22 volumes. See entries for Karol Estreicher and his son Stanislaw in George J. [Jerzy Jan] Lerski [1917-1992], with special editing and emendations Piotr Wróbel and Richard J. Kozicki, Historical Dictionary of Poland, 966-1945, Westport, CT: Greenwood Press, 1996. Lerski completed the MS before his death.
Juedisches Volksblatt (Leipzig), 1865, 12th Year, section 51, 204: [Mendelssohn's letter to his mother of February 18, 1836.]
Felix Mendelssohn Bartholdy, Briefe aus den Jahren 1830 bis 1847. Herausgegeben von Paul Mendelssohn Bartholdy und Dr. Carl Mendelssohn Bartholdy…, 5th ed., 2 vols., Leipzig: H. Mendelssohn, 1865. Reprint Potsdam: Verlag für Berlin-Brandenburg, 1997. Letter of February 18, 1836 to his mother in which he writes about Gusikow, II, 120-121.
Felix Mendelssohn Bartholdy, Letters of Felix Mendelssohn Bartholdy From 1833 to 1847. Edited by Paul Mendelssohn Bartholdy, and Dr. Carl Mendelssohn Bartholdy…, trans by Lady Wallace, Boston: Oliver Ditson Co., 1863. Letter of February 18, 1836 to his mother in which he writes about Gusikow, 97-99.
Frant. Lad. (Frantisek Ladislav) Rieger, Slovnik Naucny, 3 vol., Prague: I.L. Kober, 1863. Josef Gusikov, III, 540 (1863). Rieger (1818-1908) was a Czech scholar. His encyclopedia eventually reached 12 volumes.
D. Friedman, “Michael Joseph Gusikow: a biographical sketch,” Rasswiet (Odessa), No.49, 1861. Razsviet (Dawn), also Rasswiet, was the first Jewish periodical published in Russian, in the Ukraine, 1860-1861.
Max Schlesinger, Saunterings in and about London, (London: 1853), discussing the entertainments found at the Vauxhall Gardens, includes “an American Gusikow [who] makes music on wood, straw, and leather….” www.victorianlondon.org/entertainment/vauxhallgardens.htm
Georges Kastner and Édouard Thierry, Les danses des morts: dissertations et recherches historiques, philosophiques, littéraires et musicales sur les divers monuments de ce genre qui ont existés tant en France qu’à l’étranger, (Brandus et cie, 1852), Gusikow, 306-307.
Jüdischer Plutarch: Oder, Biographisches Lexikon der markantesten Männer und Frauen jüdischer Abkunft, hrsg. von Franz Gräffer und Simon Deutsch, 2 vol. in 1, Wien: 1848. Reprint Hildesheim: Georg Olms Verlag, 1975. [The entries cover the Austrian Empire.] Franz Gräffer (1785-1852) was the Vienna-born son of a local book seller; he took over his father’s business after giving up his art studies. He later worked for several noblemen as their private librarian and for publishers and antiquarian book shops. After serious financial losses, he became an observer of Vienna’s literary scene and was noted as a successful essayist with his sketches of the local literary world. In his lifetime he became a well-known literary figure having produced and edited some sixty volumes of biography, bibliography and compilations of his own feuilletons. He was the co-founder of the first Austrian lexicon, the Österreichische National-Encyklopädie, 6 vols., 1835-1837.
S.P. [Stanislaw Przyłęcki], “Guzikow,” Rozmaitości Lwowskie, X (1844), 73–77. [Variety Paper (Lvov)]. Przyłęcki (1805-1866) was a Polish biographer, editor and historian.
Lydia Maria Child, Letters from New-York. New York: Charles S. Francis & Co., 1843. Child (1802-1880) was an American journalist and prolific writer who was active in the abolition and women’s suffrage movements.
173-175: A brief lyrical description of Guzikow and his invention. (Letter XXVII)
174: Child says a friend in Hamburg heard the virtuoso and that “ringlets à la Guzikow” were a new fashion.
In the new edition, Lydia Maria Francis Child, Letters from New-York, ed. and annot. Bruce Mills, Athens: University of Georgia Press, 1998. “Bruce Mills reconstructs the biographical and cultural context surrounding the book's publication and documents substantive changes to the Standard's version of the letters and the book form. This edition also includes ten letters that Child chose to omit from earlier editions….”
Notes to Letter XXVII:
235n1 There is a revision of “Letters From New-York – No. 35” with a minor change related to her reference to Guzikov.
See 236n4 in which Mills notes that Childs had earlier written: “Guzikow, or Guzikoff, (one never knows how to spell those outlandish names), was a Polish Jew.”
In an extensive review essay of the first edition, in The American Whig Review, January 1845, 60-74, the reviewer quotes Child’s comments on Guzikow in full on page 66. The full text of Child’s Guzikow comments are also reprinted as “A Musical Genius,” Chambers’s Edinburgh Journal (London), vol.1, January-June, 1844, 128.
M.G. [Moritz (Moses) Gottlieb] Saphir, “Gusikow’s Tod,” Musik-Anthologie, Stuttgart, 1841. [Translation?] www.rainlore.demon.co.uk/Guzikow/ Saphir (1795-1858) was an Austrian critic, essayist, dramatist and humorist of witty aphorisms.
Isaac Appleton Jewett, Passages in Foreign Travel, Boston: C.C. Little and J. Brown, 2 vol., 1838. Jewett (1808-1853) was an American writer.
II, 54: [In Paris] “… I have lately attended one [concert] by Guzekow, a genius from some far province of Russia….”
“Biografia M.J. Guzikowa,” Zbieracz Literacki i Polityczny, I (1837), 178–180.
Obituary, Rozmaitości Lwowskie, VI (1837), 367. [Variety Paper (Lvov)]
Allgemeine Zeitung des Judentums (Leipzig), no. 96, page 1, November 11, 1837. Article copied from Stadt-Aachener Zeitung, (Aachen), October 21, 1837, page 1.
Cited at <www.rainlore.demon.co.uk/Guzikow/>. Full text of the newspaper is at the website Compact Memory. Internetarchiv jüdischer Periodika at www.compactmemory.de/library/seiten.aspx?context=pages&skalierung=1…
The text reads:
“Aachen. 21.Oct. Heute fruh starb hier nach langen Leiden an der Lungenschwindsucht M.J. Guzikow. Schon erschöpft, den keim des Todes in der Brust was er aus Belgien hier angekommen, wo er mehrere Monate krank daniedergelegen hatte. Während seines langen Aufenthaltes hier vermochte er nur ein Mal, sich öffentlich hören zu lassen, eine Anstrengung, die sein Uebel noch vermehrte. Er ist nur 32 Jahre alt geworden. Nicht blos daß er das undankbarste aller Instrumente mit künstlerischer Virtuosität zu behandeln wusste, hatte ihm einen so grossen Ruf durch ganz Europa verschafft: es war mehr als das. Man fühlte, daß in ihm ein wahres musikalisches Genie schlummerte, das im Kampfe mit dem Mangel früherer Bildung den Körper zerstörte. Er lebte nur der Musik, durch die es sich augenblicklich krampfhaft aufrecht erhielt, um hernach deste müder zum Tode zurückzusinken. (Stadt-Aachener Zeit.)”
Westoestliche Blaetter (Aachen), Issue 74, 1837,. [Article copied from Allgemeine Zeitung des Judentums, December 2, 1837, Leipzig). www.rainlore.demon.co.uk/Guzikow/
Stadt-Aachener Zeitung (Aachen), October 21, 1837, [Copied to Allgemeine Zeitung des Judentums, November 11, 1837, Leipzig.] <www.rainlore.demon.co.uk/Guzikow/> See above.
“Unter anderen zitiert sie auch die Kritik des Aachener Konzertes von J.M. Gusikow im Jahre 1837,” Stadt Aachener Zeitung (Aachen), October 21, 1837. [Excerpt with translation] www.rainlore.demon.co.uk/Guzikow/
Xaw. B. [K. Bronikowski], “Józef Guzikow w Paryżu,” [Guzikow in Paris], Rozmaitości Lwowskie, VI (1837), 43–46. [Variety Paper (Lvov)]
Allgemeiner Musikalischer Anzeiger (Vienna), no. 45, November 9, 1837; no. 26, June 29, 1837; no. 21, May 24, 1837; no. 15, April 13, 1837; no. 2, January 12, 1837. [Untitled reports – English translation] www.rainlore.demon.co.uk/Guzikow/
La Revue et gazette musicale de Paris, 1836 and 1837. [Articles reporting on Gusikow’s tour.]
“Gusikow,” [Obituary of Guzikow] Sulamith, eine Zeitschrift zur Beförderung der Kultur und Humanität (Dessau), Hrsg. Dr. David Fränkel, vol. 5, 1837, 306-312. [Also quoted in Wiener Allgemeine Zeitung, Frankfurter Telegraph, and Unser Planet] The Sulamith obituary is online at: http://134.130.170.2/library/seiten.aspx?context=pages&ID_0=26&ID_1=460&ID_2=9270
“Koncert Michała J. Guzikowa,” Rozmaitości Lwowskie, V (1836), 39. [Variety Paper (Lvov)]
Sigmund Schlesinger, Josef Gusikow und dessen Holz- und Stroh-Instrument. Ein biographisch-artistischer Beitrag zur Würdigung dieser ausserordentlichen Erscheinung. Mit Porträt des Virtuosen und Abbildung des Holz- und Strohinstruments, Wien: F. Tendler, 1836. Schlesinger, an Austrian writer; was born at Vienna 1811 and educated at the Schottengymnasium and the University of Vienna (M.D., 1835). In 1828, he published a poem on Ludwig Devrient in the Sammler, and in 1831 wrote a drama on the marriage of Austrian crown prince Ferdinand, which was produced several times on the Vienna stage. In the same year, using the nom de plume "Sigmund," he became a collaborator on the Theater Zeitung. In 1833, he traveled through Moravia, and published his Mährische Reisebriefe (1835) in Leipzig. He went to Dalmatia in 1837 as a physician and served as a surgeon in the Honvéd (Hungarian) Army in 1848 and 1849. There is no further information on his life after 1849. There is an image of Guzikow – a lithograph – by a “Schlesinger” and printed by “Br. Fischer” with no place cited. It appears to be the plate from the book in the Österreichische National Bibliothek Bildarchiv.
Source: Jewish Encyclopedia Online and Österreichische National Bibliothek Bildarchiv.
M.G. [Moritz (geb. Moses) Gottlieb]Saphir, “Joseph Gusikow in Frankfurt-am-Main. Stroh- und Holz-Variationen,” Theaterzeitung, Gesammelte Schriften (Vienna), IV, 1835, 107. [German translation?] Cited at www.rainlore.demon.co.uk/Guzikow/
Allgemeine Musikalische Zeitung, (Vienna), no.36, September 1835. (Untitled -English translation). www.rainlore.demon.co.uk/Guzikow/
M.G. Saphir, [Article on Gusikow] Allgemeiner Theaterzeitung und Originalblatt für Kunst, Musik, Mode und geselliges Leben (Wien), June 1835.
Adolph Kohut, Berühmte israelitische Männer und Frauen in der Kulturgeschichte der Menschheit: Lebens- und Charakterbilder aus Vergangenheit und Gegenwart; ein Handbuch für Haus und Familie, 2 vols., Leipzig-Reudnitz: Payne, 1900-1901. I, 133-134: Regarding Guzikow, he includes a report of a listener in Hamburg. Kohut (1848-1917),was born in Mindszent, Hungary and made his career in Germany. He was a journalist, newspaper editor, music and theatre critic, and wrote numerous biographies of composers and poets.
A. Lithauen [?], “Wen Shklov is geven Eretz Yisrael,” Yiddishe Neshomas [Jewish Souls] (Lithuania), I: 11. (Yiddish). [Date? Guzikow’s reminiscences about his home town.]
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Note that in the Grove Dictionary of Music and Musicians Online, there are three separately occurring entries for Guzikow:
ALPHA NAME ENTRY
Guzikow, Michał Józef
JEWISH MUSIC, §V, 2: ART AND POPULAR MUSIC IN SURROUNDING CULTURES: THE CHRISTIAN WORLD
Guzikow, Michał Józef
XYLOPHONE
Michał Guzikow
OTHER LITERATURE
Joshua Horowitz, "Gusikov in Wien," publication pending. Horowitz is a classically trained musician and performs on the cymbalom (hammered dulcimer) and 19th century button accordian. He is also an author, teacher and founder and director of the traditional folk-music ensemble Budowitz. He is a Guzikow scholar and writes articles and answers questions at the Budowitz web site in the guise of “Dr. Klez” at www.budowitz.com/.
Odessa Gazette, 1837.
At Joel Rubin’s online forum: RE: Geschwister Mendelssohn
“(as did his sister Fanny, though she was critical of Guzikov's "flirting with Judaism" in order to secure his fame) And did you know that further in the same citation, she makes an anti-Semitic comment that was excised from the original text?” Source of citation not yet found.
WEB SITES
[Not an all-inclusive listing. The entries below are cited because they contain more than a passing reference to Guzikow, mention him in a historical context, or have a more extensive discussion of him or of the xylophone in which subject article he is mentioned. Some sites are valuable databases such as The Music Sack.]
Wikipedia at http://en.wikipedia.org/wiki/Josef_Gusikov
www.jewishencyclopedia.com
ie Musik in Gegenwart und Geschichte: Subject Index: Xylophon; Sachteil IX, Column 2099: Michał Józef Guzikow, has life years as 1809-1837.
MGG ONLINE at www.mgg-online.com/probeartikel/xylophon.pdf
Alex Jacobowitz's Michael Joseph Guzikow ArchivesCopyright©2003 Renaissance Man/Rainlore at www.rainlore.demon.co.uk and Bibliography at <www.rainlore.demon.co.uk/Guzikow/GuzBiblgy.html>
http://maxpedia.org/cgi-bin/mp/m.pl?la=en&sw=xylophone> mention of Guzikow and xylophone in brief history of the instrument; based on Wikipedia entry.
Osterreichisches Musiklexikon ONLINE at http://epub.oeaw.ac.at/ml/musik_X/Xylophon.xml
Vienna Symphonic Library, Vienna Symphonic Library GmbH at <http://vsl.co.at/en/70/3196/3204/3205/5729.vsl>
Merlin Shepherd, “A Short History of Klezmer Music,“ at <www.budowitz.com/pages/shorthistory.html> and www.merlinshepherd.co.uk/briefhistory.html
KlezmerShack at www.klezmershack.com/archives/000109.html
Cyril Dupuy at <www.cyrildupuy.com/cymbalistes.php?page=juifs>. Cyril Dupuy performs on the cimbalon or dulcimer, an instrument said to have been played by Guzikow.
§ Encyclopedia Britannica Online, article on “xylophone.” <www.britannica.com/eb/article-9077699/xylophone>
§ Vitrifolk at <http://vitrifolk.apinc.org/generalites-musique-klezmer-instruments.html>
§ Shklov at <www.belarus.by/en/belarus/territory/mogilev/shklov/>
§ Rob Bridge’s Percussion Timeline at <http://myhome.sunyocc.edu/~bridger/morepages/subpages/perctimeline.pdf>
§ Music-Web Encyclopedia at < http://en.music-web.org/encyclopedia/Xylophone>
§ The Music Sack at <http://musicsack.com/SearchTheMusicSack.cfm>, a selective bibliographical database about people in music.
Susan Bauer, von der Khupe zum KlezKamp, online book at www.klezmer.de/Buecher/S_Khupe-Inhalt/S_Khupe-4/S_Khupe-4-3/s_khupe-4-3.html hapter 4. Freilach in Hi-Fi: Klezmer-Musik und Klezmorim in Osteuropa.
…
Einzelne hochbegabte Klezmer-Solisten brachten es zu besonderem Ruhm und gingen regelrecht auf Konzerttournee weit über ihre Heimatregion hinaus. Das berühmteste heute noch bekannte Beispiel war zu Beginn des letzten Jahrhunderts Mikhoel-Yosef Guzikov. Er spielte auf einem einfachen, selbstgebauten Zimbl, das aus Holzstäben bestand, die auf einem Strohbett ruhten (“Strohfidl”) . Er beherrschte das einfache Instrument so virtuos, daß er schließlich in ganz Europa Solokonzerte gab. Felix Mendelssohn-Bartholdy schrieb in einem Brief an seine Mutter nachdem er ein Konzert von Guzikov gesehen hatte: “He is a true phenomenon, a wonder, who takes second place to no virtuoso of the world in performance and preparation and who therefore gave me more enjoyment on his wood and straw instrument than many do on their pianos.” (Wie zitiert in: Beregovski 1937: 537)
© 2002 by Susan Bauer. All rights reserved.; Disclaimer Veröffentlichen und Zitieren außerhalb von www.klezmer.de nur mit Genehmigung des Autors.
WEB POSTINGS: [discussion of Guzikow]
“Never mind the sidelocks: David Conway on the Hasidic musical superstars Matisyahu and Josef Gusikov,” Posted by David Conway, May 30, 2006, at www.socialaffairsunit.org.uk/blog/archives/000947.php
www.klezmershack.com/archives/000109.html>
Alex Jacobowitz,Miscellaneous posts to the Jewish-music mailing list, March 2003.
§ Alex Jacobowitz, “Liszt heard Josef there [at the Paris Opera House, December 1836], and wrote a letter, dripping with envy, to George Sand, Chopin´s partner.”
Online posting by Alex Jacobowitz, 6 March 2003, at <www.mail-archive.com/jewish-music@shamash.org/msg00215.html>. The letter source is not cited. See also Franz Liszt below. Alex Jacobowitz is a classically-trained percussionist and marimba player and a Guzikow scholar.
Joshua Horowitz, Posts to the Jewish-music mailing list, 12th & 13th March 2003.
Pete Rushefsky,”Jewish Strings - An Introduction to the Klezmer Tsimbl,” at www.tsimbl.com/.
Jewish Klezmer Recital: The Music of the Klezmorim at <www.cdime-network.com/uploads/cdime/shepherd2001.PDF>
Rob Weisberg, comp., “Orthodox Jewish musician Michael Joseph Gusikov became so popular in Europe in the 1830's that his traditional hairstyle spurred a trend. ‘His peyes - the ritual sidecurls of Orthodox Jewish men - generated a women's fashion fad in Paris called coiffure a la Gusikov.’ “ Quote from Henry Sapoznik, Klezmer!, Schirmer, 1999.. Online 2001 at www.wfmu.org/Playlists/Robw/funfax.html.
TO BE RESEARCHED OR ADDED:
www.yivoinstitute.org/downloads/Concert_Music.pdf
ACKNOWLEDGMENTS
With appreciative thanks to:
Joshua Horowitz, Connecticut, USA
Dr. Alex Jacobowitz, Michael Joseph Guzikow Archives and Bibliography
Copyright©Janet I.Wasserman 2007-2008