. . . . . . . . . . . . . . . . . "1104256518"^^ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . "Joseph Moskowitz"@en . . "Joseph Moskowitz"@en . . . . . . . . "1879"^^ . . . . . . . . . . . "20006"^^ . . . . "1340048"^^ . . . . . . . "non_vocal_instrumentalist" . . . . . "non_vocal_instrumentalist"@en . . . . . . . . . . . . . . . . . . "Joseph Moskowitz (Yiddish: \u05D9\u05D0\u05B8\u05E1\u05E2\u05DC\u05E2 \u05DE\u05D0\u05B8\u05E9\u05E7\u05D0\u05B8\u05F0\u05D9\u05D8\u05E9, 1879 \u2013 1954) was a Romanian-born American cimbalom player, composer, restaurant owner and recording artist in New York City during the first half of the twentieth century. A descendant of a family of klezmer musicians, he was among the most well-known American cimbalom players of his time, and had a wide repertoire which included not only Jewish music but also Romanian, classical, and ragtime music. He is thought to have composed over 100 cimbalom pieces which drew upon various musical influences. His restaurant Moskowitz & Lupowitz, on Second Avenue also became a popular destination and celebrity hangout in the 1920s and 1930s."@en . . . . . . . . . . "musician, restaurant owner"@en . . . . . . . "Joseph Moskowitz (Yiddish: \u05D9\u05D0\u05B8\u05E1\u05E2\u05DC\u05E2 \u05DE\u05D0\u05B8\u05E9\u05E7\u05D0\u05B8\u05F0\u05D9\u05D8\u05E9, 1879 \u2013 1954) was a Romanian-born American cimbalom player, composer, restaurant owner and recording artist in New York City during the first half of the twentieth century. A descendant of a family of klezmer musicians, he was among the most well-known American cimbalom players of his time, and had a wide repertoire which included not only Jewish music but also Romanian, classical, and ragtime music. He is thought to have composed over 100 cimbalom pieces which drew upon various musical influences. His restaurant Moskowitz & Lupowitz, on Second Avenue also became a popular destination and celebrity hangout in the 1920s and 1930s."@en . . . . . . . . . . . "Joseph Moskowitz"@en . . . . . . . . . . . . . . . . . .