LEONORA WAS my mother, Kitty my aunt. Kitty had no children, she never married because Yakuv didn’t believe in marriage, and once she met him, she never looked at anyone else. “He treats her like dirt,” my mother used to say, the corners of her mouth turned down—an expression I knew well, for it was often how she regarded me while telling me, “You’ll end up like Kitty: a neurasthenic.” Physically, it would have been impossible for me to become either like my mother or my aunt. They were both tall, statuesque, whereas I have taken after my father who was a lot shorter than my mother. It’s odd that both these sisters chose men who were short—though this was all that Yakuv and my father Rudy had in common.
Leonora dominated Rudy and he liked it. She was a wonderful manager of all practical details, but at that time I resented and perhaps rather despised her orderly bourgeois ways. I often took refuge with Kitty, who lived in three tiny rooms in a subdivided old brownstone. My parents had a large apartment in an expensive building on Central Park West, filled with some very fine furniture and pictures that had belonged to Rudy’s family of prosperous Berlin publishers. Unlike Rudy and Leonora, who had funneled out his family money through Switzerland, Kitty had arrived here in 1937 with nothing—except of course my parents, who were a constant support to her.
Kitty’s apartment was always in a mess, which for me was part of its charm. I associated disorder with artistic creation, and there was usually some piece of work lying around. She had begun with etchings and woodcuts but later became a photographer; there were prints tacked up of her charming portraits of little girls picking flowers in a meadow. Kitty herself sat on the floor, her arms wrapping her knees and her long reddish hair trailing around her. If my mother was there—and Leonora often came to check up on her sister—she would be tidying panties off the floor, washing the dishes piled in the sink, while clicking her tongue in distress and disapproval. But that didn’t bother Kitty at all, she continued sitting there talking to me about some artistic matter, even when Leonora found a broom and began to sweep around her.
My parents adored New York, were completely at home here, and continued to live the way they might have done if they had been allowed to stay in Berlin. They spoke only in English, though their heavy accents made it sound not unlike their native German. They had many social and cultural activities, mostly with other prosperous émigrés from various Central European countries. It was at one of these cultural events that Kitty first met Yakuv, who had been engaged to give a piano recital after a buffet supper at some rich person’s house. The house was pointed out to me later, a rococo mansion at 90th and 5th, since pulled down. At this concert Kitty had behaved in a crazy way that was not uncharacteristic of her: the moment Yakuv had finished playing, she dashed up to the piano and, kneeling down, she kissed his hand. Leonora said she nearly died of shame, but Rudy was more tolerant of his sister-in-law’s behavior, which he said was a tribute not to a person but to his art. As for Yakuv himself—I don’t know how he took her gesture, but probably it was in his usual sardonic way.
On account of his art, my mother was prepared to forgive Yakuv for many things: among them, his background. He came from Eastern Europe, from what she assumed to be a tribe of pedlars and hawkers; the language they spoke was to her a debasement of the High German with which she had grown up. But this had nothing to do with Yakuv’s art: “Even if his father peddled toilet brushes,” she explained, “an artist is born with his talent. It’s a gift from the gods and comes from above.” His real background might have disturbed her more. His forefathers had been rabbinic scholars, but more recent generations had abandoned these studies in favor of Marx and Engels, Bakunin and Kropotkin. Some of them had rotted for years in jail as political prisoners, and at the beginning of the last century an aunt had been executed for her part in an unsuccessful assassination attempt. The glowering intensity that pervaded Yakuv’s music, and our lives, must have been inherited from these revolutionaries. His looks were as fiery as his playing. He was very short but with broad shoulders and an exceptionally large head, which looked even larger because of his shock of black curly hair.
A year or two after his first meeting with her, Yakuv moved into the brownstone where Kitty lived. His rooms on the top floor were even smaller than hers on the second and just as untidy. But I have seen Yakuv get much angrier than my mother at the mess in Kitty’s rooms, kicking things around the floor in a fury and sweeping crockery off her table. Then she would fly at him, and a dreadful quarrel break out. These were the first passionate fights I ever witnessed, for between my parents there was only a slight tightening of the lips to indicate one of their rare differences of opinion. Kitty’s fights with Yakuv frightened and thrilled me by their violence. They always ended the same way, with Yakuv going upstairs to his own den as though nothing had happened—he might even have been smiling—while she was left quivering, prostrate on the floor. But soon she would get up and rush to the door to scream up the stairs—uselessly, for by that time he was back at the piano and she could not be heard above his playing.
At the time we first knew him, in the early 1940s, there was a surfeit of talented refugee pianists, so Yakuv had to struggle to make ends meet. He played for a ballet class and gave piano lessons to untalented students, of whom I became one. At six, my eager parents had sent me for piano lessons to a little old Russian lady, who spent most of her time with me writing appeals for visas to consular officials. But when I was twelve, my parents decided that I should take lessons from Yakuv. I was very reluctant, for I had often seen his pupils coming down from their lessons in tears. I knew this would be my fate too—and deservedly, for he was a great musician and I had very little talent. He made no attempt to disguise his despair, putting his hands over his ears and imploring to be struck deaf. He begged me never to come back again, never to think of the piano again, and of course I would have liked nothing better; but however much we swore an eternal farewell when I left, I always returned on time for my next lesson. I knew—we all knew, including himself—that he needed the money, and since he had driven most other pupils away, it seemed up to me to stick it out, however painful this might be for both of us.
And actually, apart from my playing, I liked being with him. He had three little rooms, and the one in which he gave lessons was only just big enough to hold his piano. The window faced the back yard which was wild and overgrown since the first-floor tenant had no money to keep it up. At that time the mammoth apartment buildings had not yet been built, so the house was surrounded by other brownstones with similarly untended gardens and trees growing tall enough to fill his window. Yakuv, in a shabby jacket and rimless glasses, filled the room with smoke from his little black cigars. A cup of coffee stood on the piano, and since I never saw him make a new one, it must have been stone cold; but he kept sipping at it, and dipping a doughnut into it. Although coffee, doughnuts, and cigars appeared to be all he lived on, he was full of energy. He roared, stamped, heaped me with his sarcasms. Sometimes I got so mad, I banged down the piano lid, and that always seemed to amuse him: “I see you have inherited your aunt’s sweet temper.” But then he pinched my cheek, almost with affection, and walked me out the door with his arm around my shoulders.
I was not the only one in the family to take lessons from him. I don’t know whether my father did this because he really wanted to learn or to contribute to Yakuv’s income. He came not to play the piano but to sing Lieder; he loved music but was unfortunately as unmusical as I am. I have heard Yakuv tell Kitty that the entire neighborhood was trilling Die Schöne Müllerin while my father was still struggling with the first bars. Poor Rudy—he must have endured the same sarcasms as I did, but all he would say was that Yakuv had the typical artistic temperament. Then Kitty said: “So artistic temperament gives one the right to be a swine?” She spoke bitterly because he fought with her, wouldn’t marry her, wouldn’t let her have a child with him. This last always came up in their quarrels: “All right, so don’t marry, leave it, forget it—but a child, why not a child!” He wouldn’t hear of it; and it really was impossible to think of him as a father, a gentle comforting presence like Rudy.
Yet he and Kitty had their tender moments together. Sometimes on my visits to her I found them in bed together. They were not at all shy but invited me to sit on the side of the bed. We played games