I was especially haunted by the case of Georg Jokl, one of two musical brothers—the other was Otto—who were born in Vienna in the eighteen-nineties. Otto studied with Alban Berg and won notice as a composer, conductor, and music publisher; he later found steady employment in New York. Georg worked mainly as a pianist, often accompanying singers in recital. He arrived in New York in 1938 and largely vanished; one of his few publications was “4 Progressing Pieces for Piano.” His death, in 1954, at the age of fifty-seven, went unnoticed. NYFOS featured one of the few surviving traces of Jokl’s existence—a meltingly lovely, lullaby-like song titled “Abendlied” (“Evening Song”), which resembles a message in a bottle from a decimated world.