Jaap Kool

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Jaap Kool as a saxophonist, 1926/27

Jacob Hendrik Willem Kool (* 31 December 1890 in Nieuwer-Amstel , Netherlands , † 1. December 1959 in The Hague ), called " Jaap ", was a Dutch composer , jazz - saxophonist , musicologist , educator and author who primarily in Germany worked and published in German.

family

Jaap Kool's father, David Abraham Kool, was the director of Heringsfischerei AG Neptun , based in Emden in East Frisia , which had its own fleet of loggers . He had relocated his company from the Netherlands to Germany in 1893/94, so that Jaap Kool, who subsequently grew up mainly in Germany and Switzerland, moved to Germany with him at the age of three. His father was also the consul of the Netherlands in Emden, responsible for East Frisia . From 1907 to around 1914 he acted as chairman of the supervisory board of the free school community Wickersdorf , then as economic director of the boarding school. His wife Adriana Margaretha "Etha" (born February 15, 1866 in Rohrbach near Saalfeld ; † August 28, 1946 in Ermelo , province of Gelderland ), born in Thuringia, was the daughter of the Dutch theologian and art historian Allard Pierson and his wife Pauline Hermine Elizabeth (1831– 1900), née Gildemeester. Adriana Margaretha was chairwoman of the Evangelical Workers' Association in Emden around 1911. Jaap Kool had a two years younger brother, Allard (1895–1986), who was named after his maternal grandfather.

In 1930 Jaap, now headmaster, met the expressive dancer Vlasta "Asta" Libusche Josephine Hájek (* 1909 in Breslau ) in Wickersdorf , who taught there as an auxiliary teacher for French from that point on. From 1922 to 1927 she had been a boarding school student in Wickersdorf. The marriage of the two in Haarlem on October 15, 1932 resulted in two children, Stefan (* 1933) and Sibylle (* 1938, from April 14, 1961 married to the nuclear physicist Marcel Haegi, * October 29, 1931 in Geneva; † February 5, 2004). Both were students in Wickersdorf, Stefan in 1945/46 in the boarding school, the five years younger Sibylle in the village school.

School and study

Jaap enjoyed a permissive upbringing; the mother came from a naturist family. In 1905 the twelve-year-old rebelled against the military drill at the Wilhelmsgymnasium in Emden , which he attended. Therefore, the parents allowed him to boarding school at the German Agricultural Haubinda of Hermann Lietz . From there he followed school principal Paul Geheeb and Gustav Wyneken to their newly opened free school community in Wickersdorf in the Thuringian Forest , where he was one of the first students in this reform-pedagogical country school . He attended this boarding school from 1906 to 1909, while his younger brother Allard was a student there for 1907 and again from 1914 to 1917. There he became friends with Alexander “Sascha” Gerhardi (1889–1967), for example. With Gustav Wyneken and Wickersdorf both felt closely connected throughout their lives, despite occasional controversies and resentments.

The music aesthetician and composer August Halm worked there as a music educator from 1906 to 1929, and Martin Luserke was involved there from 1906 to 1925 for expressive dance and “movement play” ( performing play ) . The meanwhile sixteen year old Jaap tried his hand at composing music for a piano quintet composed of classmates for the first time in 1909 .

From 1911, Kool, following his classmates and friends in Switzerland, studied chemistry and musicology at the University of Zurich . He found the Swiss premiere of Stravinsky's “ Le sacre du printemps ”, which he experienced at the top level, as a musical revelation. With his former schoolmate Erich Schadow (1890-1943), who had been chairman of the student committee, he roamed through the nightlife of Zurich, tending to debauchery, and contracted a venereal disease.

When his father's company in Emden burned down completely in a major fire in 1914 before the start of the First World War , he had to break off his studies in Zurich after completing his intermediate diploma due to lack of money. The beginning of the war and the lack of teachers caused by the large number of euphoric war volunteers gave him the opportunity to work as an assistant teacher for music education in his former country school in Wickersdorf from October 1915. He briefly met Ernst Schertel , who had to leave the boarding school in 1916. At the end of the war he moved to Berlin. In Wilhelm Klatte , who taught music theory at the Stern Conservatory of Music , he found an examiner who accepted the work he had begun in Zurich on dances of primitive peoples . There he also studied with Alexander von Fielitz and Herbert Windt . Without further details, the sources also indicate periods of study at the Technical University of Charlottenburg , which operated under this name until 1920, in Munich and at the Schola Cantorum in Paris.

Professional development

Jaap Kool and Grit Hegesa in Bad Ems , 1922
Jaap Kool with Leni Riefenstahl , 1924
Jaap Kool, around 1940
Standing dances , dance pantomime by Jaap Kool at the German National Theater in Weimar , May 1937
Cheerful opera Die Schweinwette at the German National Theater in Weimar , April 1939
Opera The story of the beautiful Annerl , De Nederlandsche Kameropera , 1942
Comic opera Don Pasquale , De Nederlandsche Kameropera , 1943
Cheerful opera The Taming of the Shrew , De Nederlandsche Kameropera , 1944

He composed for the expressionist expressive dancer Grit Hegesa around 1920/22 and accompanied her on the piano during her performances. In newspaper articles he wrote, he took the view that a modernization of dance was only possible on the basis of a new type of music that freed itself from the ballast of classical and courtly forms of expression. In 1924 he published in the new edition illustrated monthly magazine owl of the Ullstein publishing house , in the same time also Kurt Tucholsky published, an essay on the origin, the nature and operation of the Jazz.

As jazz - saxophonist , he headed to 1924 in the capital an occurring under his name Orchestra. Kool's unconventional compositions with borrowings from African rhythms made him well-known in the Berlin music scene, including through his Workers' Symphony (1924), which Erich Kleiber premiered with the Berlin Philharmonic, or through the grotesque ballet pantomime Der Leierkasten (1925). In the contemporary tabloid press he was referred to as the "bird of paradise of the Berlin scene".

For the opening of the Berlin Gloria-Palast on Kurfürstendamm , Kool composed the musical pantomime "Die Flöhe" based on an idea by the writer, playwright and actor Frank Wedekind . For the dancer Anita Berber he composed the music for a dance with a life-size male doll. The expressive dancer Ellen Cleve-Petz (1890–1977) gave her debut performance as ballet master at the Dresden Semperoper with a composition by Jaap Kool for ETA Hoffmann's Elixirs of the Devil . Karl Gustav Vollmoeller commissioned Kool to compose a 45-minute setting of his dance pantomime Die Schießbude , in which he mixed elements from Wedekind's Lulu and Hans Heinz Ewers ' mandrake with motifs from Mary Shelley's Frankenstein and Carlo Collodi's Pinocchio . The commissioned work for a 20-person orchestra and a 10-person ensemble of actors was intended for Vollmoeller's lover, the expressive dancer Lena Amsel .

With “Der Aufschrei” and “Tänze der Nacht” in 1923, Kool set pieces to music for a matinee at the Freie Volksbühne with the dance group Jutta Klamt in early 1924 . Their ensemble member Leni Riefenstahl managed to find a patron, possibly Harry R. Sokal , who financed her and Jaap Kool a joint boat trip to New York City , which they characterized as a study trip. Kool returned from the USA with two completed first movements for a concerto grosso for jazz orchestra , which was intended as the basis for a large urban dance poem with Riefenstahl. Her career as a dancer ended prematurely in June 1924 because of a meniscus injury; In 1925/26 she turned to director Arnold Fanck and mountain films as an actress.

When Kool met the diamond prospector August Stauch , who founded the Vox-Schallplatten- und sprachmaschinen-Aktiengesellschaft in 1920 with headquarters in the Vox-Haus , he offered him the position of program director or artistic director in 1923, which he held until 1925. Kool produced a large number of recordings from Berlin swing and jazz orchestras at VOX , also played his own compositions and acquired numerous licenses for US sound recordings from smaller labels. On October 24, 1929, however, Black Thursday brought the end to VOX . Kool had invested his reserves in VOX shareholder shares and lost them due to the stock market crash and its worldwide effects. The free school community in Wickersdorf now once again became the rescue station for Kools, who was not only able to teach chemistry and music there from 1929 to 1940, but also served as headmaster from 1930 to 1933. During this time he was the pedagogical director of the boarding school, his friend Alexander "Sascha" Gerhardi the economic director. However, neither of them had a teaching qualification for the upper level and were not German citizens, factors that the National Socialist-led Thuringian Ministry of the Interior and Public Education subsequently knew how to use to implement the politically desired changes in the Free School Community . From 1930 the National Socialists were involved in the government in Thuringia and led the Ministry of the Interior and Public Education through Wilhelm Frick .

In music lessons, Kool virtually succeeded August Halm , who had died in 1929. However, Kool set other priorities, since dance education, stage and ballet music were closer to him than classical music. From 1930 to 1932, the former Wickersdorf student and expression dancer Asta Hajek (* 1909) from Gustav Wyneken's comradeship also worked there . She taught French as a substitute teacher in the boarding school.

The work The Saxophone , written by Kool in the Free School Community in 1931, marks his probably most important contribution to music history. It was last reissued in 2000 as a reprint, was internationally known for its English version and was long considered a standard work and profound account of the history of this instrument.

Jaap Kool was forced to resign in 1933 because, as a Dutchman, he was unable to meet the new Nazi requirement that a school director should be born in Thuringia. He offered his resignation to the Ministry. However, like Alexander Gerhardi, he remained managing director of the boarding school and was allowed to continue teaching. With his fiancée, the dancer Vlasta "Asta" Hajek, he traveled to Ascona, Switzerland . There he met the UFA actor Kurt Gerron , who after his escape from the German Reich was able to build on his successes in Germany with a cabaret program at the Hollandsche Schouwburg in Amsterdam. Kool, a partner in the Free School Community , took a leave of absence due to this meeting and followed Gerron to the Netherlands. There he arranged a large number of pieces of music for his program and was the first composer of film music for Gerron's directorial work Het mysterie van de Mondscheinsonate and the Dutch-Italian fairy tale film De Drie Wensen . Then the Wickersdorf school community called Jaap Kool, who had meanwhile been elected to the supervisory board there, urgently back to the Thuringian Forest. It was a matter of defying the ongoing demands to place the reform-pedagogical country school home under the supervision of the SS home schools .

For a three-part ballet evening at the German National Theater in Weimar , Kool composed a musical pantomime entitled Ständetänze - based on paintings by Pieter Brueghel , which was intended to position him explicitly as a Dutch artist towards the Nazi music ideologues , whose work depicts the simple peasant life of Flanders during the Renaissance seizure. However, he faced two opponents who should not be underestimated who were responsible for the Nazi propaganda show " Degenerate Music ": the State Commissioner for the State Theaters, State Councilor and General Director Hans Severus Ziegler , at the same time head of the Thuringian District Cultural Office, and his General Music Director Paul Sixt . Both polemicized against everything that Jaap Kool had stood for with his previous work and activity, decidedly against jazz, which was disqualified as "Negro music". Jaap Kool was lucky, however; his Flemish ballet inspired the two Nazi music ideologues. They gave Kool the contract for an opera, financed by the culture fund of the Nazi leisure organization Kraft durch Freude . The premiere was conducted by Paul Sixt himself , who has just been promoted to head of the Reichsmusikkammer in Gau Thuringia.

However, the apparently good relationship that resulted did not last long. When the Wehrmacht occupied the Netherlands in 1940, Kool was arrested and forced to withdraw from the board of directors of the Wickersdorf school community . He had to cede his shares for a fraction of the nominal value to local Nazi officials and withdraw from the Thuringian school service with immediate effect. He was then released, but expelled from the German Reich and traveled to the Netherlands by rail. Whether Asta Hajek and the two children accompanied him cannot currently be proven.

The Nederlandsch-Duitsche Kultuurgemeenschap , which was active from 1941 to 1944 and supported by Nazi Reich Commissioner Arthur Seyß -Inquart , offered Kool in 1942 that he could take over the management of a new opera house, De Nederlandsche Kameropera . In his new management function, Kool commissioned Leo Justinus Kauffmann , a controversial composer from Alsace who had already lost his position in 1933 and sometimes worked under a pseudonym, who was classified as a “newcomer” at the time of National Socialism . He realized the only commissioned composition of the new opera house, “The story of the beautiful Annerl”, based on a novella by Clemens von Brentano . However, the Nederlandsch-Duitsche Kultuurgemeenschap used the Nederlandsche Kameropera for its national propaganda and practiced solidarity with the Third Reich . Wehrmacht members stationed in the Netherlands and Nazi functionaries were among the regulars at the performances. On February 26, 1944, Kurt Gerron , who had been interned in the Westerbork transit camp since 1943 , and Kool's temporary employer, arrived at the Theresienstadt concentration camp .

From autumn 1945 Kool stayed in Wickersdorf, where his two children went to school. At this time he sought the support of Gustav Wyneken to persuade him to take over the school management of the Free School Community . In the post-war period, Kool worked as a bar musician, worked in the timber trade and was able to open a small music store in The Hague in the early 1950s . Shortly before his death, he handed over yellowed, disordered and incomplete sheet music as well as a small amount of his correspondence to the Dutch Music Archive. He died at the age of 68.

Works (excerpt)

  • Dances and dance scenes for piano from the repertoire of Grit Hegesa , 49 SA Fürstner, Berlin 1920. OCLC 255759705
  • Dances and dance styles from the repertoire of Grit Hegesa for piano , piano reduction, 49 SA Fürstner, Berlin 1920. OCLC 610619315
  • Intelligence tests on cats . In: Die Dame , Heft 20, Berlin 1920, pp. 5-6.
  • Boomerang. Exotic Fox Trot , score, SA Fürstner, Berlin 1920. OCLC 71487254
  • Franz Wolfgang Koebner (Ed.): Jazz and Shimmy. Breviary of the latest dances . Eysler & Co., Berlin 1921. With contributions by CM Craig, Jaap Kool, Lazarovitz, Ola Alsen , Peter Panter (ie Kurt Tucholsky ), Hans Siemsen and others
  • Tipsy Chinaman ( Shimmy-Fox ), score, 5 SA Fürstner, Berlin 1921. OCLC 71487260
  • Dances of primitive peoples. An attempt to interpret primitive dance cults etc. Cult customs . Vignettes by Dora Heeschen-Stolze. Draw the 3 ill. Plate. GO Rösner, 96 SA Fürstner, Berlin 1921. (Reprint: Salzwasser Verlag, Paderborn 2012, ISBN 978-3-8644-4975-8 )
  • New instruments (I. glass harmonica) . In: Melos. Zeitschrift für Musik , 3rd year, issue 2 (1922), pp. 84–88.
  • New instruments (II. Gong games, II. Anklongs) . In: Melos. Zeitschrift für Musik , 3rd vol., Issue 2 (1922), pp. 140–147.
  • Hegesa-tango (hege-es-a) , score, 5 SA Fürstner, Berlin 1922. OCLC 71487256
  • Boston d'été [easy edition for piano]. Allard, Berlin 1924.
  • The music for the dance pantomime . In: Melos. Zeitschrift für Musik , 5th year, issue 1 (1925), pp. 8-14.
  • with Karel Mengelberg : The organ organ. Grotesque ballet pantomime by Max Terpis , piano reduction for two hands, 44 pp. Universal Edition , Vienna / New York City 1925. OCLC 165729705
  • Chinese dance. Intermezzo for salon orchestra , 4 SA Fürstner, Berlin 1925. OCLC 71489966
  • Sound instruments . In: Paul Stefan: Tanz in this time , 113 S. Universal Edition, Vienna / New York City 1926. OCLC 13593023
  • Sound instruments. Dance in this time . In: Musikblätter des Anbruch. Monthly for modern music , Issue 3/4 (1926), pp. 77–79.
  • Dance music. Answer . In: Musikblätter des Anbruch. Monthly for modern music , 3/4 (1926), p. 90 f.
  • Dances in the old style , score, 20 S. Édition Allard, Sèvres S. et O. [o. J.] OCLC 71745464
  • Dance writing , sheet music examples, 27 S. Édition Allard, Sèvres S. et O. 1927 OCLC 250541878
  • Dance script , sheet music examples, 27 S. Duvignau-Canet, Bordeaux 1927.
  • Concerto grosso [1925] for jazz orchestra , piano reduction for 4 hands by Karel Mengelberg, 64 pp. Universal Edition, Vienna / Leipzig 1928. OCLC 838239567
  • Parodie d'un opera Italy . Allard, Paris 1929.
  • The shooting gallery. Pantomime in 3 acts , text by Karl Vollmoeller , piano reduction for two hands, 100 pages Universal Edition, Vienna / New York City 1929. OCLC 20432775
  • Tipsy Chinaman ( Shimmy-Fox ), Marek Weber with his artists' band from the Esplanade .
  • Tipsy Chinaman ( Shimmy-Fox ), Kapellmeister Stern [S., possibly Siegfried, b. March 11, 1889 in Vienna] with his artist band from the Hotel Adlon , Berlin
  • Tipsy Chinaman ( Shimmy-Fox ), Deutsche Grammophon 14404, Kapellmeister Rosé Petösy with his artist band from the Nelson Theater , Berlin
  • The saxophone (= JJ Weber's illustrated handbooks), 280 p.m. numerous Fig. U. Grade example JJ Weber, Leipzig 1931. (Reprint: Bochinsky, Frankfurt am Main 1989, ISBN 3-923639-81-3 ; The Saxophone , Egon 1987, ISBN 0-9058-5840-9 )
  • Een huis ontstaat . ( The building of the house. Dance work after paintings by Pieter Brueghel ), text book. OCLC 162686095
  • The pig bet. Merry Opera , 62 S. Édition Allard, Sèvres S. et O. OCLC 838825422

literature

  • August Halm: Kool, Jaap: Dances of the primitive peoples . In: Melos. Zeitschrift für Musik , Volume 3, Issue 2 (1922), p. 93.
  • Horst Wolfram Geißler : The glass harmonica . Novel. Dedicated to the composer Jaap Kool. August Scherl Verlag and German Book Association, Berlin 1936.
  • Dietrich Hilkenbach: Epilogue to the reprint of Kool's book "Das Saxophon", 1989.
  • Hans Joachim Bodenbach: Grit Hegesa, dancer and silent film star from Niederlahnstein . In: Heimatjahrbuch Rhein-Lahn-Kreis 2003 , district administration of the Rhein-Lahn-Kreis, Bad Ems 2003, pp. 147–153.

Audio

Web links

Individual evidence

  1. ↑ There are different sources of information for the year of birth: Both the student and teacher directory of the Free School Community of Wickersdorf in the archive of the German youth movement (AdJB) is given as the year of birth 1891; this year also notes the Nederlands Muziek Instituut . The publications by Prof. Dr. Peter Dudek, on the other hand , who refers to the handwritten entry in the school book of the FSG , correctly identified the year 1890.
  2. ^ Jacob Hendrik Willem Kool . In: Stadsarchief, Gemeente Amsterdam, on: archief.amsterdam
  3. ^ Fishery AG Neptune . In: Stadtarchiv Emden, on: wigedok.eu
  4. ↑ Peter Dudek : "Experimental field for a new youth" - The Free School Community of Wickersdorf 1906–1945 . Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , pp. 38, 168, 258.
  5. ^ Marriage to Jacob Hendrik Willem Kool in Haarlem, October 15, 1932; Quoted from: Noord-Hollands Archief, Registry Office Document Haarlem, No. 761 (1932), October 15, 1932
  6. ↑ a b c d e Teacher Directory of the Free School Community Wickersdorf. In: Archives of the German youth movement , Ludwigstein Castle near Witzenhausen in Hesse.
  7. ↑ a b c Student directory of the Free School Community Wickersdorf. In: Archives of the German youth movement, Ludwigstein Castle near Witzenhausen in Hesse.
  8. ↑ Ian Roberts: Marcel Haegi , on: nih.gov
  9. ↑ a b c d e Peter Dudek: “You are and will remain the old abstract ideologue!” The reform pedagogue Gustav Wyneken (1875-1864) - A biography . Julius Klinkhardt, Bad Heilbrunn 2017, pp. 191–192.
  10. ↑ Peter Dudek: “Everything is a good average”? Impressions of the student body of the FSG Wickersdorf 1906–1945 . In: JHB 23rd Yearbook for Historical Educational Research 2017 . Julius Klinkhardt, Bad Heilbrunn 2018, ISBN 978-3-7815-2237-4 , pp. 234-279 (citation: p. 250).
  11. ^ Letter from Gustav Wyneken to Jaap Kool of March 16, 1911. In: Wyneken estate, No. 971. Archive of the German youth movement, Ludwigstein Castle near Witzenhausen in Hesse.
  12. ↑ Peter Dudek: "Experimental field for a new youth" - The Free School Community of Wickersdorf 1906–1945. Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , pp. 230-231.
  13. ↑ a b c d e f Peter Dudek: "The Oedipus from Kurfürstendamm". A Wickersdorf student and his matricide in 1930 . Julius Klinkhardt, Bad Heilbrunn 2015, ISBN 978-3-7815-2026-4 , p. 60.
  14. ↑ Jaap Kool: Dances of the primitive peoples. An attempt to interpret primitive dance cults and ritual customs . "Cover, inside title and vignettes by Dora Heeschen-Stolze, the 3 illustrations were drawn by GO Rösner". Adolph Fürstner, Berlin 1921.
  15. ↑ a b c d e Jaap Kool (1891–1959) . In: Nederlands Muziek Instituut, at: nederlandsmuziekinstituut.nl
  16. ↑ Dances and dance scenes for piano from the repertoire of Grit Hegesa , 49 SA Fürstner, Berlin 1920. OCLC 255759705
  17. ↑ Dances and dance styles from the repertoire of Grit Hegesa for piano , piano reduction, 49 SA Fürstner, Berlin 1920. OCLC 610619315
  18. ^ Hegesa-tango (hege-es-a) , full score, 5 SA Fürstner, Berlin 1922. OCLC 71487256
  19. ↑ Uhu, November 1924 . In: museum-digital: brandenburg , on: brandenburg.museum-digital.de
  20. ↑ Eagle Owl. The new Ullstein magazine, No. 2, November 1924, pp. 31–41, 121–122.
  21. ↑ Jacqueline Oskamp: Een behoorlijk kabaal. A cultuur-geschiedenis van Nederland in de twintigste eeuw . Ambo Anthos, Amsterdam 2016. ISBN 978-9-0263-3590-7 .
  22. ↑ Fox on 78 , issue 15 (1927).
  23. ^ Film-Kurier No. 22, January 26, 1926.
  24. ↑ Uli Kempendorff (sax), Benny Lackner (p): Overture to the dance pantomime Die Schießbude by Jaap Kool, 1922 (3:16 min.). In: YouTube, on: youtube.com
  25. ↑ Leni Riefenstahl . In: Dieter Wunderlich : Intrepid women. Eleven portraits . Piper Verlag, Munich 2013, ISBN 978-3-492-30267-8 , on: dieterwunderlich.de
  26. ↑ Leni Riefenstahl , on: leni-riefenstahl.de
  27. ^ Jürgen Trimborn : Riefenstahl. A German career. Biography . Structure Digital, Berlin 2018. ISBN 978-3-8412-1507-9 .
  28. ^ A b Peter Dudek: "Experimental field for a new youth" - The Free School Community of Wickersdorf 1906–1945 . Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , p. 375ff.
  29. ↑ Peter Dudek: "Experimental field for a new youth" - The Free School Community of Wickersdorf 1906–1945 . Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , p. 135.
  30. ↑ Jaap Kool: The saxophone . Erwin Blochinsky, Frankfurt am Main 2000, ISBN 3-9236-3981-3 . OCLC 630308009
  31. ↑ Kool, Jaap: The saxophone . In: Saxophonforum, on: saxophonforum.de
  32. ^ Letter from Jaap Kool to the Thuringian Ministry of the Interior and Public Education of June 21, 1932. In: Thüringisches Hauptstaatsarchiv (ThHStA), signature B 3464/155.
  33. ↑ Jaap Kool . In: IMDb, on: imdb.com
  34. ↑ De Drie Wensen . In: filmportal.de, on: filmportal.de
  35. ^ Ernst Klee: The dictionary of persons on the Third Reich. Who was what before and after 1945 . Fischer Taschenbuch Verlag, second updated edition, Frankfurt am Main 2005, ISBN 978-3-596-16048-8 , pp. 693-694.
  36. ^ Deutsches Nationaltheater Weimar: Premiere program for the cheerful opera Die Schweinwette by Jaap Kool from April 14, 1939, G. Uschmann printing house, Weimar
  37. ↑ Leo Justinus Kauffmann: “The story of the beautiful Annerl”, first performance on June 20, 1942. Quoted from: Karl-Josef Kutsch , Leo Riemens : Großes Singer Lexikon , Volume 4, Walter de Gruyter, Berlin 2012, ISBN 978-3-598 -11598-1 , p. 1160.
  38. ↑ Nederlandsch-Duitsche Kultuurgemeenschap , on: archieven.nl
  39. ↑ Gerron, Kurt . In: www.ghetto-theresienstadt.info, on: ghetto-theresienstadt.info
  40. ↑ Eduard Erne: death Ghetto as Idyll - Charles Lewinsky in the footsteps of Kurt Gerron , August 25, 2011. In: 3SAT on: 3sat.de
  41. ↑ Peter Dudek: "Experimental field for a new youth" - The Free School Community of Wickersdorf 1906–1945 . Julius Klinkhardt, Bad Heilbrunn 2009, ISBN 978-3-7815-1681-6 , pp. 445-446.
  42. ↑ Kool, Jaap . In: Nederlands Muziek Instituut, at: nederlandsmuziekinstituut.nl
personal data
SURNAME Kool, Jaap
ALTERNATIVE NAMES Kool, Jakob Hendrik Willem (maiden name)
BRIEF DESCRIPTION Dutch composer, musicologist, jazz saxophonist, educator and author
DATE OF BIRTH 1891
PLACE OF BIRTH Amsterdam , Netherlands
DATE OF DEATH December 1, 1959
Place of death The hague