Gypsy String Orchestra

Monday Apr 7

by


Another unimportant day
home and radio.

The Gypsy String Orchestra
entertained me from the air.

Every night going to bed
reading, newspapers usually
the “News” until I get sleepy,
and so it goes night after night.

Here within the confines of my
little nest, I spend my dreary
hours dreaming,

Here many [of my] youthful dreams
were vanished.

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Matt’s Notes

After a brief respite two days ago, Papa’s malaise has returned in full force. Yesterday he admitted to himself that Henriette, a.k.a. the 20th Century Girl, was not going to respond to the letter of affection he wrote her a week earlier. He had idealized and become infatuated with her quite quickly, so this sudden acceptance of her disinterest, or at least his realization that she was human, unreliable, and not inclined to behave exactly as he needed her to, would have left him a bit bereft. (I expect most idealists and daydreamers would recognize this cycle of excitement and disappointment.)

I wonder, too, if the recent birth of Papa’s nephew had, in some way, attenuated his longing for a family of his own, or for that matter his own family (including his ailing father) back in Eastern Europe. I suppose the music of the “Gypsy String Orchestra” wouldn’t have helped his homesickness any, especially if it sounded as wistful as this:

Speculation aside, we know it was not unusual for Papa to suffer bouts of melancholy or for the ghosts of his “vanished” dreams to haunt him when he was home alone. If only a ghost from the future could have visited and said

Papa, this is you:

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Additional notes:

When Papa mentions the news of the day in this entry, he capitalizes the word “News” and writes it in quotation marks (note the older-style placement of the opening quote to the lower left of the quoted term):

Why did he do this? Was “News” considered a vernacular term back then when used to refer to the contents of a newspaper? Or did he quote the term because it was new to him and he wasn’t quite sure if he was using it right?

Regardless, the “News” Papa read before retiring that day would have provided plenty of additional fuel for his blue mood. Some of the less encouraging headlines included:

Note that the stories about the Nazi party’s rising influence came on the heels of the recently-concluded Beer Hall Putsch trial (Hitler had just received an incredibly light sentence for trying to overthrow the German government, the surest sign yet of his rising influence and popularity). I must admit I didn’t have this in mind when it occurred to me to list potentially upsetting New York Times headlines from April 7, 1924, but I’m sure Papa was preoccupied with the implications.

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References:

Papa mentions “The Gypsy String Orchestra” in this entry, and while I was able to find some 1940-ish references to an ensemble by that name at the Museum of Television and Radio, I’m not sure if they existed as such in the 1920’s or if Papa just used a generic term to describe the type of music he heard. In any event, the clip I included above is called “Hungarian Folksong Melody” and is, according to archive.org, a 1914 recording by Berkes Bela.

Monday Apr 28

by


Matt’s Notes

home radio

Hurrah the Gypsy Orchestra
The most fascinating on he
air is here. The first number,
Gypsy Chardash 2) Tosca,
3. Shuberts Waltz op 64#2
4. Serenade by Drigo
5 Indian Love Lyrics

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Matt’s Notes

If you’re at all interested in the evolution of American media, Papa’s accounts of his radio listening are truly precious artifacts. They allow us to witness a moment of enormous transition in our culture, when the broadcast industry was barely two years old and, like a two-year-old child, was growing furiously, dashing about like mad on its newfound legs, and shouting its head off even though it didn’t quite know what to say. It’s amazing to think that just three years before Papa wrote this entry, “wireless” communication was known only to military personnel and the few crazed enthusiasts willing to build their own radio transceivers and spread the broadcast gospel (not that there was always much of a distinction in the early days, since many engineers who served in World War I were recruited from the ranks of these ur-nerds)1.

It looks like Papa was a bit of a technical enthusiast himself. Though all-in-one radios with cabinet configurations or Victrola-style horn speakers were commercially available in 1924, the photo below shows him listening to a much earlier radio set:

The headphones he’s using, along with the overall messy look of the radio, indicate that it was most likely hand-built:

It also looks like Papa’s early radio enthusiasm reflected the broader Jewish community’s attitudes of the day; radio listings appeared in the Daily Forward (the influential left-leaning Yiddish language newspaper) as early as 1923. Papa undoubtedly checked out these listings every day, and maybe even let out a little “hurrah” when he saw a mention of his beloved Gypsy String Orchestra, “the most fascinating on the air.” (It’s interesting to note that the expression “on the air” was in circulation even at this early point in broadcasting history.)

The phrase “Gypsy String Orchestra” refers generally to a type of music ensemble, but in this case probably refers specifically to a group of New York-area musicians known for their appearances at such venues as Cafe Royal, The Rainbow Restaurant, and the Parkway Restaurant.2 Few recordings of 1920’s radio exist so it’s unlikely that we’ll ever know exactly what Papa listened to, but the wonderful Internets do afford us a chance to hear some early recordings of the songs he mentions above.

Here’s a 1921 Edison Diamond Disc recording of “Indian Love Lyrics” from the Library of Congress:

And here’s a 1920’s-ish “Chardash” (a.k.a. “tsardas,” “czardas,” “tzardash,” etc.) from Archive.org:

For good measure, here’s a “Gypsy Love Song” from 1923:

According to our friend Jill, who knows about such things, a Tzardash is technically more of a Hungarian folk form than truly Romani (i.e. more Gypsy-like than Gypsy) and points out that “in parts of austria and the old austro-hungarian empire– and still today in vienna– there are hungarian musicians who travel around and play hungarian folk music in the street. but i could see how one could take them to be gypsies or conflate it with gypsy music.” Papa probably did exactly that, though I expect less because he was Austro-Hungarian than because it was common practice in the 20’s to label Hungarian music as “gypsy” — or at least is was for the Gypsy String Orchestra and the group that recorded the above Tzardash, Bibor Olga Ciganyzenekara or (Olga Bibor’s Gypsy Ensemble).

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Update 4/29 — Well, that was fortuitous. I just stuck the “Gypsy Love Song” clip on this post because it happened to be on Archive.org, not because Papa mentioned it specifically. But, my mother just wrote to say “I can remember, as a little girl, Papa singing the Gypsy Serenade to me. What lovely memories this evoked.” How about that.

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References:

1 – I got this from Erik Barnouw’s A Tower in Babel: A History of Broadcasting in the United States to 1933.

2 – Most of the information about the Jewish relationship to early radio and the cultural scene of the 20’s comes from Ari K., an academic advisor to this site. If you want to know more, you can purchase a copy of his dissertation at the University Microfilms (UMI) site. The site is stunningly shitty, but the dissertation number is 1392538.

I can’t find Web streams of the other pieces Papa mentions above, though most appear to be available in modern recordings (alas, I find no references to Schubert’s Op. 64 #2). I’m playing the above-mentioned “Serenade,” a selection from Richard Drigo’s ballet Les Millions d’Arlequin, right now. Anyway, here are some sources: