Original Source: www.theguardian.com
In the vibrant streets of 1920s Berlin, a group of musicians known as Weintraubs Syncopators captured hearts with their remarkable talent, playing seven instruments each. Adored by luminaries like Marlene Dietrich and Josephine Baker, their legacy dimmed after the Nazis rose to power, casting them into exile. Now, as we mark a century since their inception, a striking portrait of the band painted by Max Oppenheimer in 1927 will find a permanent home at the Jewish Museum in Berlin, reviving the spirit of an unforgettable era.
This remarkable painting, once used to promote their concerts, depicts a quartet of the Syncopators, focusing on founding members Stefan Weintraub and Horst Graff. Emblematic of the energetic jazz scene that flourished amid the Weimar Republic, the artwork immortalizes their versatility in music, spanning genres like swing, waltz, and the popular schlager. Noteworthy hits from their repertoire included whimsical titles like “My Sweetheart Wants to Take Me Sailing on Sunday.”
National Socialism ended the Syncopators’ celebrated performances, although they initially continued under a Germanic name. The band made a poignant decision to go on an international tour the day after witnessing the burning of the Reichstag, a journey that would lead them far from home. Despite their Jewish roots, they found temporary solace, performing in the Soviet Union and Japan, only to face internment and struggles in Australia.
The story of the Oppenheimer painting is intertwined with the fate of its creator and its past owners, including Hugo Staub, a lawyer who fled Berlin in 1933 to escape persecution. The painting changed hands over the decades, ultimately arriving at the Jewish Museum after being kept in Canada for years. With the unveiling set for October 21, the descendants of those linked to the artwork anticipate a Homecoming feel as they celebrate the band’s enduring legacy.
Michael Fisher, whose relatives were among the last Syncopators, expresses a deep sense of closure knowing the band’s portrait returns to Berlin. This event symbolically reconnects the band to the city they were forced to leave behind, reviving the echoes of jazz that once resonated through its lively streets, providing a touching tribute to a forgotten chapter of history.
The Weintraubs Syncopators were a celebrated jazz band during the 1920s in Berlin, notable for their talent and versatility. After the rise of the Nazis, their journey took them through exile and internment, altering the course of their legacy. A significant 1927 painting by Max Oppenheimer encapsulates their dynamic essence and has recently returned to Berlin, opening a dialogue about art, memory, and cultural heritage in the shadow of political upheaval.
The return of the Syncopators’ portrait to Berlin not only honors the musicians’ contribution to jazz but also acknowledges the impact of their shared history. It revives a vibrant narrative of resilience amid oppression and underscores the significance of remembering and celebrating cultural legacies that were nearly lost. This unveiling represents a reunion of the past and the present, connecting descendants and descendants through art and memory.
