Paul Moor


1924  Born in El Paso, third of three children of Mississippian
parents.  Attended elementary and high school.  Musical prodigy.

1933  First formal musical instruction, violin and piano.  Violin
discontinued after about two years.

1940  Graduation from Austin High School (El Paso).  Entered
Juilliard School of Music in New York.

1941  Transferred to University of Texas (Austin) as a music major.

1942  Summer semester at the Universidad Nacional de México. 
Simultaneously private study with Carlos Chávez, learning his new
Piano Concerto.

1943  By taking advanced-standing examinations in a variety of
subjects, I managed to get my degree (Bachelor of Music) from the
University of Texas at the age of nineteen.  That summer I 
returned to New York, intending to pursue a career as a concert
pianist but already feeling the urge to become a writer.

1944  Hired as script writer by RKO-Pathé, Inc., in New York, which
produced documentary films, two weekly newsreels, etc.

1947  I turned to working as a free-lance writer and journalist,
which I have remained ever since.

1948  Harper's Magazine published the first three articles I wrote. 
That summer Yaddo (the foundation outside Saratoga Springs NY)
invited me to spend two months there writing.  Magazines which
have published my work since then include The New Yorker, Holiday,
Theatre Arts, The Saturday Review, The Saturday Evening Post,
etc., etc.

1949  Move to Europe, settling nominally in Paris but making
frequent trips from there.  I began carrying out regular 
assignments for the Arts Section of The New York Times.

1951  Move from Paris to Munich.  There I undertook an intensive
study of modern German history, concentrating on the Third Reich,
a study which continued until I left Germany thirty years later.

1953  The first extensive photo-reportage I attempted (Pablo Casals
and his music festival in the French Pyrenees) attracted the
attention of Robert Capa, who added my name to the affiliate
roster of Magnum Photos, the international agency which he and
Henri Cartier-Bresson had founded in Paris and New York.  For
about the next four years I worked mainly as a photojournalist,
carrying out assignments for leading publications in the USA and

1954  Final appearances (tour of West Germany) as a concert 
pianist, performing the Khachaturian concerto and the third Bartók

1956  Move from Munich to Berlin.  Photo assignments for the Life
bureau in Bonn led to assignments to write for the Music section
of Time.  Regular coverage after 1956 of Berlin's cultural life
for The Financial Times (London) and then for The Times, also for
the International Herald Tribune (Paris) and Musical America.

1958  Time sent me to Moscow (the first of my six extensive trips
through the USSR) to cover the first International Tchaikovsky
Competition; after Van Cliburn became the unexpected first-prize
winner for piano, I filed a sixty-page cover-story for Time and
photographed the lead story that week for Life.  That fall I
taught a course on contemporary American music at what has 
subsequently become the Kennedy Institute of the Freie 
Universität Berlin.  After fulfilling my commitment there I 
had to discontinue it due to the necessity to travel for 
Time-Life International, which had made me its general Berlin 
correspondent, accredited to the Department of Defence in 

For about the next ten years I worked full-time for Time-Life but
declined to join the staff.  During that period I began 
broadcasting the news from my area for CBS and for Canada's CBC.  
I also did a number of lengthy broadcasts, usually on musical 
subjects, in German for the Sender Freies Berlin, and contributed 
to leading German publications (Die Zeit, Der Monat, Der Spiegel). 
Time-Life assignments during those years, together with summer 
vacations, resulted in a great deal of travelling: to every 
country of Europe except Albania and Finland, and to the Middle 
East (Israel, Egypt, Jordan, Iran).  In the summer of 1966 I 
attended a Russian-language course for foreigners at Lomonosov 
University in Moscow.

1967  As the result of a Saturday Evening Post article of mine
about the issue of voluntary euthanasia, the Bloomingdale 
Foundation gave me a grant to write a book on the subject.

1969  I discontinued work for Time-Life International to 
concentrate on radio broadcasting for CBS News, which 
accredited me as its Berlin representative.

1971  Publication of my first book, *Das Selbstporträt des
Jürgen Bartsch*, a psychoanalytically oriented study of a
young man who committed his first sadistic infanticide at the
age of fifteen and committed three more before his arrest at
the age of eighteen.  (I treasure a letter from the prominent
American psychoanalyst Muriel Gardiner [*The Wolf-Man*, *Code
Name "Mary"*, etc.], which led to our meeting and becoming
friends, in which she called this "a really great book".  The
Zurich psychoanalyst Dr. Alice Miller devotes 44 pages [232 -
276] of her book *Am Anfang war Erziehung* [Suhrkamp, 1980] to
a discussion of it; in the American edition, *For Your Own
Good* [Farrar Straus Giroux, 1983; pp. 198 - 246].)

1972  Publication of my euthanasia book, *Die Freiheit zum
Tode: Euthanasie und Ethik* (Rowohlt, Hamburg); lecture tour,
radio and television appearances, etc.  At the annual Berlin
Film Festival, I served as American representative on the jury.

1974  I applied for admission in Berlin to the Institute for
Psychotherapy and to the Berlin Psychoanalytic Institute for
"informatory" training, i. e., access to their theoretical
seminars.  The former accepted me at once, the latter some
months later.  Psychoanalysis, applied to various fields, had
gradually eclipsed music as my primary interest; I continued
that training at the BPI until I left Berlin in September,

1975  Leonard Marcus, Editor of High Fidelity and Musical
America, seeking foreign-language rights to deaf Beethoven's
"conversation notebooks", chose me to prepare them, with
annotations, for publication in English, a project involving
twelve volumes of four to five hundred pages each. 
(Complications entailed in obtaining the rights from East
Germany prevented the signing of all contracts until 1978.)  I
completed the first volume in 1980.

1976  Lectures about the Beethoven notebooks at the University
of Southern California and at the University of California at
Santa Barbara (also, in 1980, at Emory University in Atlanta).

1979  A Ford Foundation grant to abet the Beethoven project.

1980  I made my first documentary film (on assignment from West
German television, Hamburg), about an almost unknown doctor
(still practising in southern Germany) who spent eighteen
months assigned to the SS Institute of Hygiene at Auschwitz but
managed not only to remain an admirable human being (the Poles
acquitted him, amidst cheers, after the war) but also to save a
number of inmates' lives.

1981  Move back to the USA, concluding thirty-two years in
Europe.  First winter spent on a fellowship at the Hand Hollow
Foundation, East Chatham NY.

1982  Move to San Francisco, where I succeeded Alfred
Frankenstein as regional correspondent for Musical America and
became a Contributing Editor of High Fidelity.

1991  Publication of my second, definitive book on *Jürgen 
Bartsch: Opfer und Täter* (Rowohlt Verlag; 473 pages).

1992  Opening of *Bartsch, Kindermörder* (Bartsch the Child-
Killer), a monodrama by Oliver Reese composed of extracts from  
my 1991 book; world premiere in Ulm, productions since then     
in Cologne, Hannover, Dortmund, Halle, Berlin, Essen, Salzburg,
Vienna, Hamburg, etc.

1994  Two (paid) invitations from Europe to lecture about the
Jürgen Bartsch case: from Prof. Dr. med. Gerd Biermann's
Medizinische Akademie für Psychotherapie von Jugendlichen und
Kindern in Brixen, in the South Tyrolean section of northern
Italy, and from the German Psychoanalytic Society (with
lectures in Berlin [2], Hamburg, Zürich, Düsseldorf,
Göttingen, and Munich).

1995  Move back to Berlin to continue writing activities as
before - presently especially for .

2001  Rehearsals for a new play based on my 1991 book about 
Jürgen Bartsch began on August 27th in Bautzen, to open there 
on October 6th.  (To date, 30+ productions of the earlier 
monodrama by Oliver Reese in theaters all over German-speaking 

2003  Reissue (by the Rowohlt Verlag) of my 1991 Bartsch book 
in paperback format; new productions of Oliver Reese's play in Hannover
and Nuremberg.

January 16, 2004  Bundesverdienstkreuz (Federal Cross of Merit) awarded by
Johannes Rau, President of the Federal Republic of Germany.

(Use your browser "Back" button to return to the Biographies)