{"id":129216,"date":"2026-01-12T16:23:54","date_gmt":"2026-01-12T15:23:54","guid":{"rendered":"https:\/\/www.iemj.org\/kosma-joseph-1905-1969\/"},"modified":"2026-01-15T10:41:22","modified_gmt":"2026-01-15T09:41:22","slug":"kosma-joseph-1905-1969","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/es\/kosma-joseph-1905-1969\/","title":{"rendered":"Kosma, Joseph (1905-1969)"},"content":{"rendered":"\n<!--more-->\n\n\n\n<p>Procedente de una familia jud\u00eda h\u00fangara integrada<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_1');\" onkeypress=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_1');\" ><sup id=\"footnote_plugin_tooltip_129216_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_129216_1_1\" class=\"footnote_tooltip\">En 1898, en el marco de la emancipaci\u00f3n de los jud\u00edos del Imperio austroh\u00fangaro impulsada por el emperador Francisco Jos\u00e9, el padre de J\u00f3zsef, Bern\u00e1t Kohn, magiariz\u00f3 su apellido conservando&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_1');\">Lire la suite<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_129216_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_129216_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 naci\u00f3 el 22 de octubre de 1905 en Budapest. Su abuela, Hermina Naschitz, que aprendi\u00f3 piano con Franz Liszt, animaba a sus hijos y nietos a estudiar m\u00fasica. Apasionado por el arte y el teatro, J\u00f3zsef Kozma montaba espect\u00e1culos con su t\u00eda Julianna, pianista, y compon\u00eda desde los 11 a\u00f1os. El compositor y t\u00edo de J\u00f3zsef Kozma, Hugo Kellen, present\u00f3 a su sobrino al compositor L\u00e9o Weiner, quien anim\u00f3 al ni\u00f1o a perseverar en la m\u00fasica.<\/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, abuela de Joseph Kosma<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Pero los a\u00f1os veinte traen consigo el auge del antisemitismo. En el instituto Fran\u00e7ois-Joseph, el centro m\u00e1s prestigioso de Budapest, tuvo que soportar frecuentes acosos racistas, insultos y peleas. Posteriormente, se vio imposibilitado de cursar sus estudios universitarios de literatura y filosof\u00eda debido a la imposici\u00f3n de un numerus clausus que reduc\u00eda el n\u00famero de estudiantes jud\u00edos. Entonces se orient\u00f3 hacia la m\u00fasica y sigui\u00f3 los cursos de composici\u00f3n musical de L\u00e9o Weiner (1885-1960) y Albert Sikl\u00f3s (1878-1942) en la Academia Nacional de M\u00fasica de Budapest. Una vez obtenido su diploma de composici\u00f3n, fue director asistente en la \u00d3pera de Budapest (1927-1928) y, posteriormente, director art\u00edstico del peque\u00f1o teatro vanguardista Cikk-Cakk (Zig-Zag), cuyas atrevidas representaciones, t\u00edpicas de los locos a\u00f1os veinte, fueron r\u00e1pidamente censuradas.<\/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>Acad\u00e9mie Nationale de musique de 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 en La danse du souffle, espect\u00e1culo del teatro Zig-Zag.<\/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 y 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>Tras obtener una beca de estudios en 1929, Kosma continu\u00f3 su carrera en Berl\u00edn, donde asisti\u00f3 a las clases de Hanns Eisler (1898-1962). Por entonces, frecuentaba al dramaturgo Bertold Brecht (1898-1956) y al compositor Kurt Weill (1900-1950) <span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_2');\" onkeypress=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_2');\" ><sup id=\"footnote_plugin_tooltip_129216_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_129216_1_2\" class=\"footnote_tooltip\">Eisler y Weill, de origen jud\u00edo, y Brecht, comunista, se exiliaron en Estados Unidos durante el periodo nazi.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_129216_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_129216_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>, ambos comprometidos con la difusi\u00f3n de la m\u00fasica popular, as\u00ed como con la pianista Lilli Apel (1891-1975), con quien se cas\u00f3 oficialmente en 1939.<\/p>\n<\/div>\n<\/div>\n\n\n\n<p>En 1933, el matrimonio Kosma huye del nazismo y encuentra refugio en Francia. Instalados en Par\u00eds sin un centavo, Lilli da clases de piano y J\u00f3zsef acompa\u00f1a clases de baile. En 1935, en la antesala de un productor de cine, conoce al poeta Jacques Pr\u00e9vert (1900-1977), a quien le explica que quiere escribir canciones. Le da su direcci\u00f3n. Pasaron varios meses y, un d\u00eda, Pr\u00e9vert le llev\u00f3 dos textos que Kosma se apresur\u00f3 a poner en m\u00fasica. Prevenido, Pr\u00e9vert present\u00f3 a Kosma a los directores Jean Renoir y Marcel Carn\u00e9.<\/p>\n\n\n\n<p>Traducci\u00f3n realizada con la versi\u00f3n gratuita del traductor DeepL.com<\/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 y Pr\u00e9vert en Paris &#8211; 1947<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Para este \u00faltimo, compuso la m\u00fasica de <em>Jenny <\/em>en 1936; para Jean Renoir, la de <em>La Grande Illusion<\/em> en 1937. Los a\u00f1os treinta tambi\u00e9n fueron una oportunidad para que Kosma desplegara su talento como folclorista<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_3');\" onkeypress=\"footnote_moveToReference_129216_1('footnote_plugin_reference_129216_1_3');\" ><sup id=\"footnote_plugin_tooltip_129216_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_129216_1_3\" class=\"footnote_tooltip\">Al igual que hizo B\u00e9la Bart\u00f3k, que recopil\u00f3 la m\u00fasica popular h\u00fangara a principios del siglo XX.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_129216_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_129216_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. En 1932 compuso una <em>Suite Exotique<\/em> de 14 piezas para piano, inspirada en temas africanos, \u00e1rabes y chinos, publicada en 1936 por Pro Musica, y en 1937 una <em>Suite Su\u00e9doise sur des vieilles chansons populaires<\/em> (siglos XV y XVI), para piano y diversos instrumentos, editada por Eschig.<\/p>\n\n\n\n<p>En 1940, mientras las tropas alemanas se acercaban a Par\u00eds, Pr\u00e9vert convenci\u00f3 a sus amigos y colaboradores h\u00fangaros (Kosma, Brassa\u00ef, Trauner) para que abandonaran la capital y se refugiaran en el sur. Tras varias paradas provisionales, Kosma y su esposa encontraron refugio con una familia de Navarrenx, en Bearn. Para agradecerles, Kosma compuso <em>Esquisses B\u00e9arnaises: chants et danses des Pyr\u00e9n\u00e9es<\/em>, una peque\u00f1a suite para piano en ocho movimientos fechada en 1940 y publicada por Editions Henn en Ginebra para evitar la expoliaci\u00f3n sistem\u00e1tica de la SACEM contra los compositores jud\u00edos en Francia.<\/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, 2\u00aa \u00e9poca<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>Despu\u00e9s de Navarrenx, la pareja Kosma se instala en Palavas-les-Flots, en una caba\u00f1a sin comodidades donde sufren el fr\u00edo. Sin nada que hacer, el compositor frecuenta la biblioteca de Montpellier, donde elige algunas canciones populares que arregla para viol\u00edn y piano. Tres de ellas se estrenan el 16 de marzo de 1941 en Palavas, durante un concierto ben\u00e9fico a favor de los prisioneros de guerra.<\/p>\n\n\n\n<p>Joseph Kosma se reencuentra con Pr\u00e9vert en Tourrettes-sur-Loup, en los Alpes Mar\u00edtimos, donde compone la m\u00fasica de dos de las pel\u00edculas m\u00e1s famosas de Marcel Carn\u00e9:<em> Les Visiteurs du soir<\/em> y <em>Les enfants du Paradis<\/em>. Al no poder firmarlas como jud\u00edo, recurre a prestanombres como los pianistas y compositores Georges Mouqu\u00e9 (1901-1961) y Jean Marion (1912-1967). Tras la evacuaci\u00f3n de la Costa Azul por los italianos en septiembre de 1943, Kosma se une a la resistencia de Thorenc, en los Alpes Mar\u00edtimos. El 28 de agosto de 1944, result\u00f3 herido por la explosi\u00f3n de una mina sobre Vence. Su familia, que se hab\u00eda quedado en Budapest, fue exterminada por los nazis<\/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>Partitura<\/strong> <strong>Les feuilles mortes<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>De vuelta en Par\u00eds en octubre de 1944, Kosma se convierte en un compositor reconocido con el \u00e9xito de <em>Les enfants du Paradis<\/em>, estrenada en marzo de 1945. Al a\u00f1o siguiente, pone m\u00fasica a 46 canciones de la colecci\u00f3n de poemas <em>Paroles <\/em>de Pr\u00e9vert, que se publicar\u00e1n en \u00c9ditions Enoch en 1946 y 1947. Las m\u00e1s famosas (<em>Les Feuilles mortes, Barbara, Je suis comme je suis, \u00c0 l&#8217;enterrement d&#8217;une feuille morte<\/em>\u2026) fueron interpretadas durante veinte a\u00f1os por artistas de renombre como Mouloudji, los Fr\u00e8res Jacques, Yves Montand, Francis Lemarque, Germaine Montero, Juliette Gr\u00e9co, Cora Vaucaire, Catherine Sauvage\u2026 La versi\u00f3n de 1949 en Estados Unidos de <em>Feuilles mortes<\/em>, bajo el t\u00edtulo <em>Autumn Leaves<\/em> y con letra de Johnny Mercer, la convirti\u00f3 en un est\u00e1ndar que interpretaron los m\u00e1s grandes nombres de la canci\u00f3n y el 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 et J Greco<\/strong><\/figcaption><\/figure>\n<\/div>\n\n\n<p>En octubre de 1948, Joseph Kosma obtiene la nacionalidad francesa, un a\u00f1o despu\u00e9s de conocer a Marie Merlin, su nueva compa\u00f1era, que durante casi un cuarto de siglo le ayudar\u00e1 en su trabajo y en sus luchas. A pesar de su dolorosa separaci\u00f3n de Pr\u00e9vert en 1951, los a\u00f1os 50 significaron para el compositor un intenso periodo de creaci\u00f3n con varias canciones conocidas basadas en poemas de Sartre, Queneau, Aragon y Desnos, as\u00ed como otras obras por redescubrir, escritas sobre textos de Jean-Marie Croufer, Henri Bassis y Madeleine Riffaud, estos dos \u00faltimos antiguos resistentes comunistas.<\/p>\n\n\n\n<p>El \u00e9xito de las melod\u00edas y la m\u00fasica cinematogr\u00e1fica de Kosma eclips\u00f3, para su gran pesar, su producci\u00f3n de m\u00fasica sinf\u00f3nica, en particular ballets como <em>Le Rendez-vous<\/em>, estrenado en Par\u00eds en 1945 con coreograf\u00eda de Roland Petit, o <em>L\u2019\u00c9cuy\u00e8re <\/em>(1948), coreografiado por Serge Lifar para Yvette Chauvir\u00e9. Tambi\u00e9n compuso dos \u00f3peras: <em>Les Canuts<\/em> (1959) y <em>Les Hussards<\/em> (1969). Pero Kosma falleci\u00f3 de un ataque al coraz\u00f3n el 7 de agosto de 1969 en La Roche-Guyon (Val-d&#8217;Oise) y no pudo asistir a la representaci\u00f3n de esta \u00faltima, estrenada en Lyon el 21 de octubre de 1969.<\/p>\n\n\n\n<p>Fuentes:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Bruno Br\u00e9van, libreto del CD <em>Joseph Kosma, A la belle \u00e9toile<\/em>, Edition Hortus, diciembre de 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 y Bruno Giner, <em>Entartete Musik<\/em>, Bleu nuit \u00e9diteur, 2015<\/li>\n\n\n\n<li><a href=\"https:\/\/es.wikipedia.org\/wiki\/Joseph_Kosma\" target=\"_blank\" rel=\"noreferrer noopener\">Joseph Kosma, p\u00e1gina de Wikipedia<\/a><\/li>\n<\/ul>\n\n\n\n<p><a href=\"https:\/\/www.iemj.org\/es\/arnold-schonberg-henriette-bosmans-joseph-kosma\/\">Escuchar extractos del 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\">Leer el art\u00edculo Joseph Kosma &amp; le Jazz de Fran\u00e7oise Miran y escuchar diferentes versiones des <em>Les feuilles mortes \/ 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>Consultar nuestros archivos sobre 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_129216_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_129216_1();\">[<a id=\"footnote_reference_container_collapse_button_129216_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_129216_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_129216_1('footnote_plugin_tooltip_129216_1_1');\"><a id=\"footnote_plugin_reference_129216_1_1\" class=\"footnote_backlink\">1<\/a><\/th> <td class=\"footnote_plugin_text\">En 1898, en el marco de la emancipaci\u00f3n de los jud\u00edos del Imperio austroh\u00fangaro impulsada por el emperador Francisco Jos\u00e9, el padre de J\u00f3zsef, Bern\u00e1t Kohn, magiariz\u00f3 su apellido conservando solo la inicial: Bern\u00e1t Kohn pas\u00f3 a llamarse Bern\u00e1t Kozma. En 1905, a\u00f1o del nacimiento de J\u00f3zsef, fund\u00f3 junto con su esposa Zelma una escuela de taquigraf\u00eda y estenotipia y public\u00f3 varios m\u00e9todos de aprendizaje de la taquigraf\u00eda.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_129216_1('footnote_plugin_tooltip_129216_1_2');\"><a id=\"footnote_plugin_reference_129216_1_2\" class=\"footnote_backlink\">2<\/a><\/th> <td class=\"footnote_plugin_text\">Eisler y Weill, de origen jud\u00edo, y Brecht, comunista, se exiliaron en Estados Unidos durante el periodo nazi.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_129216_1('footnote_plugin_tooltip_129216_1_3');\"><a id=\"footnote_plugin_reference_129216_1_3\" class=\"footnote_backlink\">3<\/a><\/th> <td class=\"footnote_plugin_text\">Al igual que hizo B\u00e9la Bart\u00f3k, que recopil\u00f3 la m\u00fasica popular h\u00fangara a principios del siglo XX.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_129216_1() { jQuery('#footnote_references_container_129216_1').show(); jQuery('#footnote_reference_container_collapse_button_129216_1').text('\u2212'); } function footnote_collapse_reference_container_129216_1() { jQuery('#footnote_references_container_129216_1').hide(); jQuery('#footnote_reference_container_collapse_button_129216_1').text('+'); } function footnote_expand_collapse_reference_container_129216_1() { if (jQuery('#footnote_references_container_129216_1').is(':hidden')) { footnote_expand_reference_container_129216_1(); } else { footnote_collapse_reference_container_129216_1(); } } function footnote_moveToReference_129216_1(p_str_TargetID) { footnote_expand_reference_container_129216_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } } function footnote_moveToAnchor_129216_1(p_str_TargetID) { footnote_expand_reference_container_129216_1(); var l_obj_Target = jQuery('#' + p_str_TargetID); if (l_obj_Target.length) { jQuery( 'html, body' ).delay( 0 ); jQuery('html, body').animate({ scrollTop: l_obj_Target.offset().top - window.innerHeight * 0.2 }, 380); } }<\/script>","protected":false},"excerpt":{"rendered":"","protected":false},"author":5,"featured_media":128863,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1417],"tags":[],"technique":[],"squelettes":[],"sujet":[],"formation":[],"genre":[1879],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-129216","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biografias-es","genre-cancion-francesa-es"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Kosma, Joseph (1905-1969) - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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