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PAGE 14 THE SOUTHERN ISRAELITE January 15, 1982
Women’s role
Historian fills in gap others ignored
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by Ben (.allot)
On the premise that "the
American Jewish woman has been
ignored in the standard chronicles
of this country's Jewry,” a famous
Jewish historian, Jacob Rader
Marcus, has prepared rwo volumes
to fill the gap
One is “The American Jewish
Woman, 1654-1980," a 256-page
narrative. The other, "The
American Jewish Woman: A
Documentary History," contains
1,200 pages of letters, wills,
memoirs and biographical
sketches.
Dr. Marcus, Distinguished
Service Professor of American
Jewish History at the (Reform)
Hebrew Union College, describes
the two volumes as “an attempt to
recapture the past as it actually
was.”
The books introduce the reader
to little-known but remarkable
American Jewish women who are
included chronologically and by
their fields of achievement. They
include:
Anna Roch Marks, who, with
hired hands and drawn guns,
blocked the Denver and Rio
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Grande Railroad when its officials
tried to extend the line across her
land in Eureka, Kan.;
Sophie Goldsmith, a 19th
century German-born housewife,
who began by sewing basketballs
and wound up running the multi-
million dollar MacGregor sporting
goods operation;
Eugenia Phillips of Alabama, an
anti-Yankee political activist who
was jailed by Union troops during
the Civil War;
Florence Prag Kahn, America’s
first Jewish woman member of
Congress, a Republican from San
Francisco elected to six
consecutive terms;
Alma Gluck, one of America’s
most beloved musical recitalists,
whose recording of “Carry Me
Back to Old Virginny” sold more
than two million copies. She and
her husband, violinist Efrem
Zimbalist, converted to
Christianity.
In the fight for women's rights.
Dr Marcus, who is also director of
the American Jewish Archives,
writes about Ernestine Rose, a
widely-known social reformer,
described as perhaps the nation’s
most famous Jewish woman in the
mid-19th century.
Before there was Gloria
Steinem, there was her
grandmother, Pauline, the first
woman elected to public office in
Toledo, Ohio, who served as
president of the Ohio Suffrage
Association. Dr. Marcus also pays
tribute to Betty Friedan, who, he
wrote “perhaps more than anyone
else has helped to emancipate women
in the home and in the office."
The Jewish women include a
remarkable array of political
talent. Along with the internationally-
known Emma Goldman, there was
Belle Moskowitz, adviser to New
York Governor A1 Smith,
described by the New York Times
as “having wielded more political
power than any woman in the
United States.”
Anna M Rosenberg served as
assistant secretary of defense
during the Truman administration,
the highest position in government
yet reached by an American Jewish
woman. Contemporary figures
■include Bella Abzug; Elizabeth
Holtzman, former Democratic
representative and now Brooklyn
district attorney; and Bess
Myerson, one-time beauty queen
who became a consumer activist
and political figure.
American Jewish communal life
is represented by such leaders as
Hannah Solomon and Sadie
American of the National Council
of Jewish Women; Henrietta
Szold, founding spirit of
Hadassah; Rebecca Gratz,
founder of the nation’s first
Sunday school; Carrie Simon, a
founder of the National
Federation of Temple Sisterhoods;
Lillian Wald, founder of the Henry
Street Settlement on New York’s
Lower East Side, and Golda Meir,
who became the grandmother
figure of Israel and its first, and so
far only women prime minister.
In the arts, Marcus listed writers
Dorothy Parker, Fannie Hurst,
Edna Ferber and Gertrude Stein;
publisher Dorothy Schiff; stage
figures Aliza Nazimova and Adah
Menken; and patrons of the arts
Vivian Beaumont and Minnie
Guggenheimer, among many.
The American Jewish business
woman is exemplified by Jennie
Grossinger of the famous Catskill
hotel; and Helena Rubenstein,
who left a personal estate of more
than $ 100 million.
The two volumes were co
published by Ktav Publishing
House of New York, and the
American Jewish Archives of
Cincinnati
Symphony Notes
by Thomas J. Anderson
It was back to business last
weekend at Symphony Hall as the
Atlanta Symphony resumed its
subscription concerts after an
extended break for the holiday
season. Principal guest conductor
Hiroyuki lwaki was on the podium
as the orchestra began the second
half of its season with a program
consisting of two widely
contrasting works.
Using a reduced number of
strings and working without a
score, lwaki opened the program
with a sparkling performance of
the last of Mozart’s 41 symphonies.
The nearly spotless playing in the
Brumos
ATLANTA
strings gave the work the clarity
and precision demanded by
Mozart. The overemphasis on
the lower parts that often mars
performances of Mozart
works was averted by
lwaki, giving instead a blend
that was warm but clear. The few
wind parts were generally well
handled -the only noteworthy
exception being minor intonation
flaws in the bassoons in the first
movement.
A particularly nice job was
turned in by the trumpets. While
their parts are relatively minor in
this work, they are subject to being
played too prominently. Messrs.
Walthall and Black, however,
played with an accuracy of pitch
and darkness of timbre that is
rarely heard from the section.
The second half of the program
was devoted to a performance of
the complete score to the ballet
“Daphnis and Chloe" of Maurice
Ravel. For this extended work, the
symphony was joined by the
combined choruses from Georgia
State University, Mercer
University/Atlanta and West
Georgia College.
lwaki was masterful in evoking
the full range of this impressionistic
masterpiece. From the most
delicate shimmer to the breath-
takingly powerful climaxes, lwaki
demonstrated why many observers
think that the symphony is at its
best w hen he is on the podium. He
was in complete control of every
nuance and seemed to bring forth
more energy than usual from the
players.
Particularly fine solo playing
was contributed by hornist Brice
Andrus and flautist Warren Little,
and again the work of the trumpet
section was commendable. Only
minor intonation problems in the
clarinets flawed the performance.
All things considered, one must
consider this concert a good start
for the heart of the season. A less
taut performance would have been
expected after such a break.
Having Maestro lwaki here for
one of his increasingly rare
performances was indeed
fortunate in fending off such
carelessness. We need to see ham
and hear his results more often.
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