In 1912 he wandered off to
America. Here he published many articles about music in
"Tsukunft" (including in 1915-1916 about the offspring
of Yiddish melodies), "Fraynd," "Dos naye vort," and for
a certain time was a contributor for the "Forward,"
where he wrote articles about music and managed the
department, "Replies to Questions About Music."
P. founded the first song
union of the "Workmen's Circle" in New York and
Patterson and the children's chorus in the Yiddish folk
school, for which he alone created Yiddish texts and
songs. He also adapted into Yiddish Andreyev's one-act
comedy, "Mentsh-libe" and Chekhov's one-acter, "Kalkhaz"
(Anton Chekhov, the swan-song [kalkhas], a dramatic study
in one act, adapted by Y. Pirozhnikov. Max N. Mayzel,
New York, 1919, 16 pp.), which in 1910 was staged
through Jacob Ben-Ami.
On 14 June 1933 P. passed
away in New York and was cremated.
Dr. Ts. Shabad wrote about his death:
"For our Vilna, however, in
the nineties of the last century, Isak Osipovitsh
Pirozhnikov was an important figure, ...Pirozhnikov
performed on the concertina, even in the Russian
military, when for a certain time he served as a
kapellmeister, and then in the teacher's institutes,
starting from the Vilna Yiddish teacher's institute as a
yearlong music teacher. So when the concertina became
popular in Vilna, there was not one philanthropic
evening where Pirozhnikov should not perform alone, or
with his students with entirely interesting numbers. ...Pirozhnikov
is one of the old autodidacts, who devoted their time to
the children of Vilna, and then brought about their
impact on the wider world."
Hirsh Abramovitsh wrote:
"Once Yitskhok Pirozhnikov
played an entirely important role in the Vilna society
life. He had a desire for work, which carried a
cultural-societal character, and he was engaged in
various literary and musical circles, where he used to
at times perform with lectures. ...Being a musical
director in the Vilna teachers' institute, he used to be
involved in music, even a few students, so that almost
every one of them had to take what it was. From his
practice as a kapellmeister of a military orchestra...
He used to submit a number of anecdotes and
characteristic pictures. Generally Pirozhnikov was an
interesting storyteller, a human being with a rich
fantasy, and often one was not able to man, not able to
differentiate his 'Dichtung fun varhayt (Poetry from
Freedom?),' but that did not diminish the value of his
rich experience and portrayal. F., In every detail was a
cultured and educated man, a man with an aesthetic
approach to everything ...Everyone who had read his
articles in the 'Forward' has admired the popularity,
with which Pirozhnikov had treated various musical
problems, and the purity of the language.... Generally
Pirozhnikov was an interesting type of a seeker, a
dreamer and wanderer among the older generation of the
Russian-Jewish intelligentsia, an unwavering spirit who
perhaps hasn't found any repair in his personal life,
but left a significant improvement in the history of
lifting the culture among Jews (in this case --
musical). Hundreds of teachers have got to thank him for
their musical education."
Sh.E. from Noakh Nakhbush and A. Azro.
Z. Reisen -- "Lexicon
of Yiddish Literature," Vol. II, pp. 905-908.
"Forward," 15 June 1933.
Dr. Ts. Shabad --
Yitskhok pirozhnikov, "Vilner tog," 30 June 1933.
Hirsh Abramovitsh --
Yitskhok pirozhnikov, "Di tsayt," Vilna, 30 June
Chaim Malski -- "In
malpishe lapes," "Di tsayt," Vilna, 26 Oct. 1933.
Zalmen Zylbercweig --
"Theatre Mosaic," New York, 1941, pp. 172-173.