{"id":129213,"date":"2026-01-12T16:23:54","date_gmt":"2026-01-12T15:23:54","guid":{"rendered":"https:\/\/www.iemj.org\/kosma-joseph-1905-1969\/"},"modified":"2026-01-15T10:52:46","modified_gmt":"2026-01-15T09:52:46","slug":"kosma-joseph-1905-1969","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/kosma-joseph-1905-1969\/","title":{"rendered":"Kosma, Joseph (1905-1969)"},"content":{"rendered":"\n<!--more-->\n\n\n\n<p>Born into an integrated Hungarian Jewish family<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_1');\" onkeypress=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_1');\" ><sup id=\"footnote_plugin_tooltip_129213_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_129213_1_1\" class=\"footnote_tooltip\">In 1898, as part of Emperor Franz Joseph&#8217;s emancipation of Jews in the Austro-Hungarian Empire, J\u00f3zsef&#8217;s father, Bern\u00e1t Kohn, Magyarized his name, keeping only the initial: Bern\u00e1t Kohn&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_1');\">Lire la suite<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_129213_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_129213_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> J\u00f3zsef Kosma was born on October 22, 1905, in Budapest. His grandmother, Hermina Naschitz, who had studied piano with Franz Liszt, encouraged her children and grandchildren to study music. Passionate about art and theater, J\u00f3zsef Kozma staged shows with his aunt Julianna, a pianist, and began composing at the age of 11. J\u00f3zsef Kozma&#8217;s uncle, the composer Hugo Kellen, introduced his nephew to the composer L\u00e9o Weiner, who encouraged the child to persevere in music.<\/p>\n\n\n<div class=\"wp-block-image size-medium wp-image-128865\">\n<figure class=\"alignright size-full is-resized\"><img fetchpriority=\"high\" decoding=\"async\" width=\"386\" height=\"500\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/1.Hermina-Naschitz-gd-mere-de-Joseph-Kosma-\u00a9conservatoire-de-Nice.jpg\" alt=\"\" class=\"wp-image-128865\" style=\"aspect-ratio:0.7733471431037459;object-fit:contain;width:180px\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/1.Hermina-Naschitz-gd-mere-de-Joseph-Kosma-\u00a9conservatoire-de-Nice.jpg 386w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/1.Hermina-Naschitz-gd-mere-de-Joseph-Kosma-\u00a9conservatoire-de-Nice-232x300.jpg 232w\" sizes=\"(max-width: 386px) 100vw, 386px\" \/><figcaption class=\"wp-element-caption\"><strong>Hermina Naschitz, grandmother of Joseph Kosma<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>During the 1920s, anti-Semitism increased. At the Fran\u00e7ois-Joseph High School, the most prestigious school in Budapest, he was frequently subjected to racist bullying, insults, and fights. He was then prevented from pursuing his university studies in literature and philosophy due to a numerus clausus limiting the number of Jewish students. He therefore turned to music and took courses in musical composition with L\u00e9o Weiner (1885-1960) and Albert Sikl\u00f3s (1878-1942) at the National Academy of Music in Budapest. After graduating with a degree in composition, he became assistant conductor at the Budapest Opera (1927-1928), before becoming artistic director of the small avant-garde theater Cikk-Cakk (Zig-Zag), whose daring performances, typical of the Roaring Twenties, were quickly censored.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-top is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img decoding=\"async\" width=\"500\" height=\"392\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/2.Academie-Nationale-de-musique-de-Budapest_redim.jpg\" alt=\"\" class=\"wp-image-128874\" style=\"width:636px;height:auto\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/2.Academie-Nationale-de-musique-de-Budapest_redim.jpg 500w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/2.Academie-Nationale-de-musique-de-Budapest_redim-300x235.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\"><strong>National Academy of Music in Budapest<\/strong><\/figcaption><\/figure>\n<\/div><\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:31%\"><div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full is-resized\"><img decoding=\"async\" width=\"301\" height=\"500\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/3.Agnes-Koveshazi-dans-La-danse-du-souffle-spectacle-du-theatre-Zig-Zag-1928\u00a9conservatoire-de-Nice.jpg\" alt=\"\" class=\"wp-image-128879\" style=\"aspect-ratio:0.6020656535754226;width:259px;height:auto\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/3.Agnes-Koveshazi-dans-La-danse-du-souffle-spectacle-du-theatre-Zig-Zag-1928\u00a9conservatoire-de-Nice.jpg 301w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/3.Agnes-Koveshazi-dans-La-danse-du-souffle-spectacle-du-theatre-Zig-Zag-1928\u00a9conservatoire-de-Nice-181x300.jpg 181w\" sizes=\"(max-width: 301px) 100vw, 301px\" \/><figcaption class=\"wp-element-caption\"><strong>\u00c1gnes K\u00f6vesh\u00e1zi in La danse du souffle (The Dance of Breath), a show by the Zig-Zag theater company<\/strong><\/figcaption><\/figure>\n<\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-columns are-vertically-aligned-top is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"500\" height=\"308\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/4.Berlin_Bertolt_Brecht_und_Hanns_Eisler_redim.jpg\" alt=\"\" class=\"wp-image-128891\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/4.Berlin_Bertolt_Brecht_und_Hanns_Eisler_redim.jpg 500w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/4.Berlin_Bertolt_Brecht_und_Hanns_Eisler_redim-300x185.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\" \/><figcaption class=\"wp-element-caption\"><strong>Berlin, Bertolt Brecht, and Hanns Eisler<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-vertically-aligned-top is-layout-flow wp-block-column-is-layout-flow\">\n<p>After obtaining a scholarship in 1929, Kosma continued his career in Berlin, where he studied under Hanns Eisler (1898-1962). He then became friends with playwright Bertold Brecht (1898-1956) and composer Kurt Weill (1900-1950) <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_2');\" onkeypress=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_2');\" ><sup id=\"footnote_plugin_tooltip_129213_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_129213_1_2\" class=\"footnote_tooltip\">Eisler and Weill, who were Jewish, and Brecht, who was a communist, went into exile in the US during the Nazi period.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_129213_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_129213_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> Both were involved in promoting popular music, as was pianist Lilli Apel (1891-1975), whom he officially married in 1939.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>In 1933, the Kosmas escaped Nazism and found refuge in France. Settling in Paris without a penny to their name, Lilli gave piano lessons and J\u00f3zsef accompanied dance classes. In 1935, in the waiting room of a film producer, he met the poet Jacques Pr\u00e9vert (1900-1977) and told him that he wanted to write songs. He gave him his address. Several months passed, and one day Pr\u00e9vert brought him two texts, which Kosma quickly set to music. Impressed, Pr\u00e9vert introduced Kosma to directors Jean Renoir and Marcel Carn\u00e9. <\/p>\n\n\n<div class=\"wp-block-image size-medium wp-image-128897\">\n<figure class=\"alignright is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"236\" height=\"300\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/5.Joseph-Kosma-et-Prevert-a-Paris_1947-236x300.jpg\" alt=\"\" class=\"wp-image-128897\" style=\"width:340px\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/5.Joseph-Kosma-et-Prevert-a-Paris_1947-236x300.jpg 236w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/5.Joseph-Kosma-et-Prevert-a-Paris_1947.jpg 393w\" sizes=\"(max-width: 236px) 100vw, 236px\" \/><figcaption class=\"wp-element-caption\"><strong>Joseph Kosma and Pr\u00e9vert in Paris &#8211; 1947<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>For the latter, he composed the music for <em>Jenny <\/em>in 1936; for Jean Renoir, he composed the music for <em>La Grande Illusion<\/em> in 1937. The 1930s also provided Kosma with an opportunity to showcase his talents as a folklorist, <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_3');\" onkeypress=\"footnote_moveToReference_129213_1('footnote_plugin_reference_129213_1_3');\" ><sup id=\"footnote_plugin_tooltip_129213_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_129213_1_3\" class=\"footnote_tooltip\">Following in the footsteps of B\u00e9la Bart\u00f3k, who collected Hungarian folk music in the early 20th century.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_129213_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_129213_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script> In 1932, he composed a 14-piece <em>Suite Exotique<\/em> for piano, inspired by African, Arabic, and Chinese themes, published in 1936 by Pro Musica, followed in 1937 by a <em>Suite Su\u00e9doise <\/em>based on old folk songs (15th and 16th centuries) for piano and various instruments, published by Eschig.<\/p>\n\n\n\n<p>In 1940, as the German army approached Paris, Pr\u00e9vert convinced his Hungarian friends and collaborators (Kosma, Brassa\u00ef, Trauner) to leave the capital and seek refuge in the south. After several temporary stops, Kosma and his wife found refuge with a family in Navarrenx, in the B\u00e9arn region. To thank them, Kosma composed <em>Esquisses B\u00e9arnaises: chants et danses des Pyr\u00e9n\u00e9es<\/em>, a short suite for piano in eight movements dated 1940, published by Editions Henn in Geneva to avoid the systematic plundering of Jewish composers in France by SACEM.<\/p>\n\n\n<div class=\"wp-block-image size-medium wp-image-128905\">\n<figure class=\"alignleft is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"224\" height=\"300\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/6.les-enfants-du-paradis-2e-epoque_redim-224x300.jpg\" alt=\"\" class=\"wp-image-128905\" style=\"width:180px\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/6.les-enfants-du-paradis-2e-epoque_redim-224x300.jpg 224w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/6.les-enfants-du-paradis-2e-epoque_redim.jpg 373w\" sizes=\"(max-width: 224px) 100vw, 224px\" \/><figcaption class=\"wp-element-caption\"><strong>Les enfants du paradis, 2nd era<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>After Navarrenx, the Kosmas stayed in Palavas-les-Flots, in an uncomfortable chalet where they suffered from the cold. With nothing to do, the composer frequented the library in Montpellier, where he chose a few popular songs that he arranged for violin and piano. Three of them were premiered on March 16, 1941, in Palavas, during a concert given to benefit prisoners of war.<\/p>\n\n\n\n<p>Joseph Kosma reunited with Pr\u00e9vert in Tourrettes-sur-Loup in the Alpes-Maritimes, where he composed the music for two of Marcel Carn\u00e9&#8217;s most famous films: <em>Les Visiteurs du soir<\/em> and <em>Les enfants du Paradis<\/em>. Unable to sign them as a Jew, he used pseudonyms such as pianists and composers Georges Mouqu\u00e9 (1901-1961) and Jean Marion (1912-1967). After the evacuation of the French Riviera by the Italians in September 1943, Kosma joined the Thorenc maquis in the Alpes-Maritimes. On August 28, 1944, he was wounded by a mine explosion above Vence. His family, who had remained in Budapest, was decimated by the Hungarian Nazis in the last days of 1944.<\/p>\n\n\n<div class=\"wp-block-image size-medium wp-image-128911\">\n<figure class=\"alignright is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"190\" height=\"300\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/7.Partition-Les-feuilles-mortes-en-pastel_redim-190x300.jpg\" alt=\"\" class=\"wp-image-128911\" style=\"width:180px\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/7.Partition-Les-feuilles-mortes-en-pastel_redim-190x300.jpg 190w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/7.Partition-Les-feuilles-mortes-en-pastel_redim.jpg 317w\" sizes=\"(max-width: 190px) 100vw, 190px\" \/><figcaption class=\"wp-element-caption\"><strong>Sheet music<\/strong> <strong>Les feuilles mortes<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Returning to Paris in October 1944, Kosma became a renowned composer with the triumph of <em>Les Enfants du Paradis<\/em>, released in March 1945. The following year, he set 46 songs from Pr\u00e9vert&#8217;s poetry collection <em>Paroles <\/em>by Pr\u00e9vert to music, which were published by \u00c9ditions Enoch in 1946 and 1947. The most famous (<em>Les Feuilles Mortes, Barbara, Je Suis Comme Je Suis, \u00c0 l&#8217;Enterrement d&#8217;une Feuille Morte<\/em>, etc.) were sung for twenty years by renowned performers such as Mouloudji, Les Fr\u00e8res Jacques, Yves Montand, Francis Lemarque, Germaine Montero, Juliette Gr\u00e9co, Cora Vaucaire, Catherine Sauvage, and others. The 1949 cover of <em>Les Feuilles mortes<\/em> in the United States, under the title <em>Autumn Leaves<\/em>, with lyrics by Johnny Mercer, made it a standard that would be performed by the biggest names in song and jazz.<\/p>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"wp-block-image size-medium wp-image-128917\">\n<figure class=\"alignleft is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"300\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/8.Kosma-et-J-Greco_redim-300x300.jpg\" alt=\"\" class=\"wp-image-128917\" style=\"width:340px\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/8.Kosma-et-J-Greco_redim-300x300.jpg 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/8.Kosma-et-J-Greco_redim-150x150.jpg 150w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/8.Kosma-et-J-Greco_redim-100x100.jpg 100w, https:\/\/www.iemj.org\/wp-content\/uploads\/2026\/01\/8.Kosma-et-J-Greco_redim.jpg 500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/><figcaption class=\"wp-element-caption\"><strong>Kosma and J Greco<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>In October 1948, Joseph Kosma obtained French citizenship, one year after meeting Marie Merlin, his new partner who would assist him in his work and struggles for nearly a quarter of a century. Despite his painful separation from Pr\u00e9vert in 1951, the 1950s were an intense period of creativity for the composer, with several well-known songs based on poems by Sartre, Queneau, Aragon, and Desnos, as well as other works waiting to be rediscovered, written to texts by Jean-Marie Croufer, Henri Bassis, and Madeleine Riffaud, the latter two being former communist resistance fighters.<\/p>\n\n\n\n<p>The success of Kosma&#8217;s film scores and melodies overshadowed, much to his regret, his symphonic music, particularly ballets such as <em>Le Rendez-vous<\/em>, premiered in Paris in 1945 and choreographed by Roland Petit, and <em>L&#8217;\u00c9cuy\u00e8re<\/em> (1948), choreographed by Serge Lifar for Yvette Chauvir\u00e9. He also composed two operas: <em>Les Canuts<\/em> (1959) and <em>Les Hussards<\/em> (1969). However, Kosma died of a heart attack on August 7, 1969, in La Roche-Guyon (Val-d&#8217;Oise) before he could attend the premiere of the latter in Lyon on October 21, 1969.<\/p>\n\n\n\n<p>Sources:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Bruno Br\u00e9van, CD booklet <em>Joseph Kosma, A la belle \u00e9toile<\/em>, Edition Hortus, December 2025<\/li>\n\n\n\n<li><a href=\"https:\/\/www.conservatoire-nice.org\/wp-content\/uploads\/2023\/07\/Joseph-Kosma-%C2%A9conservatoire-de-Nice.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Christine Jolivet Erlih, <em>Evocation de Joseph Kosma<\/em><\/a><\/li>\n\n\n\n<li>Elise Petit and Bruno Giner, <em>Entartete Musik<\/em>, Bleu nuit \u00e9diteur, 2015<\/li>\n\n\n\n<li><a href=\"https:\/\/fr.wikipedia.org\/wiki\/Joseph_Kosma\" target=\"_blank\" rel=\"noreferrer noopener\">Joseph Kosma, Wikip\u00e9dia page<\/a><\/li>\n<\/ul>\n\n\n\n<p><a href=\"https:\/\/www.iemj.org\/en\/arnold-schonberg-henriette-bosmans-joseph-kosma\/\">Listen to excerpts from the CD <em>Joseph Kosma, A la belle \u00e9toile<\/em><\/a><\/p>\n\n\n\n<p><a href=\"https:\/\/www.lejazzophone.com\/jazz-culture-joseph-kosma-le-jazz\/\" target=\"_blank\" rel=\"noreferrer noopener\">Read the article Joseph Kosma &amp; Jazz by Fran\u00e7oise Miran and listen to different versions of <em>Les feuilles mortes <\/em>\/ <em>Autumn leaves<\/em><\/a><\/p>\n\n\n\n<div class=\"wp-block-buttons is-content-justification-center is-layout-flex wp-container-core-buttons-is-layout-16018d1d wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button has-custom-width wp-block-button__width-75\"><a class=\"wp-block-button__link has-white-color has-text-color has-background has-link-color wp-element-button\" href=\"http:\/\/www.rachelnet.net\/F\/?func=find-c&amp;ccl_term=WRD+%3D+Kosma+SAUF+WRD+%3D+Vladimir&amp;local_base=iemcg\" style=\"background-color:#3c4b98\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Browse our archives on Joseph Kosma<\/strong><\/a><\/div>\n<\/div>\n\n\n\n<div style=\"height:10px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"L&#039;Histoire des Juifs de France (Episode 157): Joseph Kosma, le compositeur des Feuilles Mortes (1\/2)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/9H9hTayaC90?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\">\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"L&#039;Histoire des Juifs de France (Episode 158): Joseph Kosma, le compositeur des Feuilles Mortes (2\/2)\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/9uhL3qVSs7M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n<\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Autumn Leaves (Les feuilles mortes) (English Version)\" width=\"640\" height=\"480\" src=\"https:\/\/www.youtube.com\/embed\/qavKmXLeuUI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_129213_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_129213_1();\">[<a id=\"footnote_reference_container_collapse_button_129213_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_129213_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_129213_1('footnote_plugin_tooltip_129213_1_1');\"><a id=\"footnote_plugin_reference_129213_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">In 1898, as part of Emperor Franz Joseph&#8217;s emancipation of Jews in the Austro-Hungarian Empire, J\u00f3zsef&#8217;s father, Bern\u00e1t Kohn, Magyarized his name, keeping only the initial: Bern\u00e1t Kohn thus became Bern\u00e1t Kozma. In 1905, the year J\u00f3zsef was born, he and his wife Zelma founded a school for stenography and stenotype typing and published several methods for learning stenography.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_129213_1('footnote_plugin_tooltip_129213_1_2');\"><a id=\"footnote_plugin_reference_129213_1_2\" class=\"footnote_backlink\">2<\/a><\/th> <td class=\"footnote_plugin_text\">Eisler and Weill, who were Jewish, and Brecht, who was a communist, went into exile in the US during the Nazi period.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_129213_1('footnote_plugin_tooltip_129213_1_3');\"><a id=\"footnote_plugin_reference_129213_1_3\" class=\"footnote_backlink\">3<\/a><\/th> <td class=\"footnote_plugin_text\">Following in the footsteps of B\u00e9la Bart\u00f3k, who collected Hungarian folk music in the early 20th century.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_129213_1() { jQuery('#footnote_references_container_129213_1').show(); jQuery('#footnote_reference_container_collapse_button_129213_1').text('\u2212'); } function footnote_collapse_reference_container_129213_1() { jQuery('#footnote_references_container_129213_1').hide(); jQuery('#footnote_reference_container_collapse_button_129213_1').text('+'); } function footnote_expand_collapse_reference_container_129213_1() { if (jQuery('#footnote_references_container_129213_1').is(':hidden')) { footnote_expand_reference_container_129213_1(); } else { footnote_collapse_reference_container_129213_1(); } } function footnote_moveToReference_129213_1(p_str_TargetID) { footnote_expand_reference_container_129213_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 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