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One morning, after a dreadful quarrel I got the idea for the concerto, and the psalms. Jewish music. As Jewish as the Kol Nidre. I wanted to express the passion, and fire, and history of a people. My people. Why was that? Tell me. Selbst, weiss ich nicht.

It was Kol Nidre, eve of the Day of Atonement, and the little Beth- El, sweltering in a dingy air, was transacting the long-drawn liturgy, when, behind the curtain where the women sat, an old dame who had been gazing upward smote her palms together, and let slip a little scream: "The Day is coming...!"

That was the power of him the Vichy and the sparkle of youth, so that, playing, the melody poured round him like wine and went down seething and singing into the hearts of his hearers. Later, and because these were his people and because they were dark and Slavic with his Slavic darkness, he played, as if his very blood were weeping, the "Kol Nidre," which is the prayer of his race for atonement.

Boys from High school are perched on the lampposts, telegraph poles, windowsills, cornices, gutters, chimneypots, railings, rainspouts, whistling and cheering the pillar of the cloud appears. A fife and drum band is heard in the distance playing the Kol Nidre. The beaters approach with imperial eagles hoisted, trailing banners and waving oriental palms.

Later, and because these were his people and because they were dark and Slavic with his Slavic darkness, he played, as if his very blood were weeping, the "Kol Nidre," which is the prayer of his race for atonement.

They had arranged a series of concerts for him in the United States. He could give his concerto there. It was impossible in Russia, Munich, even Berlin, because it was distinctly Jewish in theme as Jewish as the Kol Nidre, and as somber. They would have none of it in Europe. Prejudice was too strong. But in America! He was happier than he had been in years.