BRUNDIBAR Guide 2019
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Theresienstadt Concentration Camp from Wikipedia, the Free Encyclopedia Coordinates: 50°30′48″N 14°10′1″E
Create account Log in Article Talk Read Edit View history Theresienstadt concentration camp From Wikipedia, the free encyclopedia Coordinates: 50°30′48″N 14°10′1″E "Theresienstadt" redirects here. For the town, see Terezín. Navigation Theresienstadt concentration camp, also referred to as Theresienstadt Ghetto,[1][2] Main page [3] was established by the SS during World War II in the fortress and garrison city of Contents Terezín (German name Theresienstadt), located in what is now the Czech Republic. Featured content During World War II it served as a Nazi concentration camp staffed by German Nazi Current events guards. Random article Tens of thousands of people died there, some killed outright and others dying from Donate to Wikipedia malnutrition and disease. More than 150,000 other persons (including tens of thousands of children) were held there for months or years, before being sent by rail Interaction transports to their deaths at Treblinka and Auschwitz extermination camps in occupied [4] Help Poland, as well as to smaller camps elsewhere. About Wikipedia Contents Community portal Recent changes 1 History The Small Fortress (2005) Contact Wikipedia 2 Main fortress 3 Command and control authority 4 Internal organization Toolbox 5 Industrial labor What links here 6 Western European Jews arrive at camp Related changes 7 Improvements made by inmates Upload file 8 Unequal treatment of prisoners Special pages 9 Final months at the camp in 1945 Permanent link 10 Postwar Location of the concentration camp in 11 Cultural activities and -
Songsof Theholocaust
works By James Simon Carlo taube viktor ullmann adolf Strauss Ilse weber Gideon klein norbert Glanzberg SoNgsof I rachel Joselson soprano rene lecuona piano WWW.ALBANYRECORDS.COM the TROY1627 ALBANY RECORDS U.S. with cello violin 915 BROADWAY, ALBANY, NY 12207 hannah holman Scott Conklin TEL: 518.436.8814 FAX: 518.436.0643 HolocausT ALBANY RECORDS U.K. BOX 137, KENDAL, CUMBRIA LA8 0XD TEL: 01539 824008 © 2016 ALBANY RECORDS MADE IN THE USA DDD WARNING: COPYRIGHT SUBSISTS IN ALL RECORDINGS ISSUED UNDER THIS LABEL. The Composers Carlo Taube (1897-1940) was a concert pianist, composer and conductor. He and his family were In 1941, the Nazi military began deporting Jews to the Czech town of Theresienstadt (Terezín), sent to Terezín in 1941. As a prisoner, he gave solo recitals and conducted performances of the which became one of the Jewish ghettos in the system of concentration camps run by the Nazis. An prisoner orchestra. Taube composed a number of original works in Terezín, including a symphony, unusually high number of artists and musicians were deported to Terezín, so that the camp could but the only surviving piece is “Ein Jüdisches Kind” (A Jewish Child), a lullaby for soprano and piano. be a “model” for use in Nazi propaganda to demonstrate how well the Jews were being treated. The The text is written by his wife, Erika Taube. They both died in the gas chambers in Auschwitz in 1944. camp authorities encouraged musical activity, occasionally offering prisoners respite from work for composition and rehearsal. The musicians worked and performed in the shadow of a tyrannical Viktor Ullman (1898-1944) was born in the stronghold town of Teschen, Silesia, within the regime, one that would eventually exterminate most of the inhabitants. -
Jaroslav Tůma Tomáš Jamník Gustav Mahler and Prague
czech music quarterly 1 | 2 0 0 7 Jaroslav Tůma Tomáš Jamník Gustav Mahler and Prague Dear Readers, As you have certainly already noticed, Czech Music Quarterly has been graphically reworked for 2007. We thought that the existing design needed freshening up, and I hope the new appearance of the magazine will give you the same pleasure that it has given us. The smaller format and more attractive paper should make for more comfortable reading. This issue of the magazine also comes with a free CD, containing pieces by six contemporary Czech composers, which means that Czech Music Quarterly is now a magazine not just to be read but to be “listened to” as well. The Chamber Music compilation is the fi rst in a series. You can read more about the whole project in the preface to the CD itself and so I here I shall just draw you attention to the article by Miroslav Pudlák, which is related to the CD and highlights some aspects of the contemporary Czech scene in composing. I would also like to remind you that you can order older numbers of Czech Music Quarterly – if we have any of the ones you want, we shall be glad to post them to you. You can fi nd a list of the contents of all preceding numbers at www.czech-music.net, and there is plenty of choice! And please feel free to contact us any time if you have a question or a comment – just write to the e-mail address [email protected]. -
Use of Materials and Resources Related to the Holocaust
Use of Materials and Resources Related to the Holocaust The nature of the subject of the Holocaust and the possible associated emotional impact means that teachers must take special care to preview all materials in their entirety. This is particularly true of the supplemental resources found for the study of the Holocaust. Age, grade level and content area suggestions need to be considered as well. Each class is unique and what is appropriate for one class might not be suitable for another. A designation by the publisher for the intended audience (Primary, Intermediate, Middle School, etc.) does not always accurately take into consideration the ages, reading level, or emotional maturity of the students. Picture books may still contain content that is not appropriate for primary or intermediate elementary students. Visual materials (videos, DVDs) need to be viewed in their entirety prior to use. This includes materials in the media center. Make sure that the school-based administrator is aware of any materials that are being used prior to a reaction from parents or the community. Use all procedures/processes that are in place at your school site regarding the showing of videos. Many times, students have seen movies or read books with their parents or guardians. This does not mean the same materials are appropriate for classroom viewing or use. Use common sense when choosing materials in print, auditory or visual formats. Use the expertise of the school’s administration or District curriculum staff. 12/14/09 lmedvin 1 The Girls of Room 28 Friendship, Hope, and Survival in Theresienstadt By Hannelore Brenner, trans. -
AYURI Research Project Paper.Pdf
Creating Beauty Out of Darkness: An Exploration into the Artistic Resistance of Jewish Music of the Holocaust Brittany R. Weinstock Academic Year Undergraduate Research Initiative Pepperdine University Fall 2020-Spring 2021 Mentorship & Research Supervisor Dr. Gary W. Cobb Contents Abstract…………………………………………………………………………………………..1 Introduction………………………………………………………………………………………2 Terezín……………………………………………………………………………………..2 Composers of Focus……………………………………………………………………….3 Themes……………………………………………………………………………………………4 Satire and Allegory………………………………………………………………………..4 Der Kaiser von Atlantis (Viktor Ullmann)………………………………………..5 Brundibár (Hans Krása)………………………………………………………….14 Freedom and Resistance…………………………………………………………………16 String Trio (Gideon Klein)……………………………………………………….16 Brundibár (Hans Krása)………………………………………………………….21 “Yugnt Himn” (Shmerke Kaczerginski)………………………………………….23 Lyrics…………………………………………………………………………………………….25 “Shtiler, Shtiler” (Shmerke Kaczerginski)……………………………………………….26 Březulinka (Viktor Ullmann)…………………………………………………………….29 “Berjoskele”……………………………………………………………………..31 “Margarithelech”………………………………………………………………..33 “A Mejdel in die Johren”…………………………………………………………34 Jewish and Cultural Folk Elements…………………………………………………………..34 Entartete Musik…………………………………………………………………………..34 Březulinka (Viktor Ullmann)…………………………………………………………….36 2 Piano Sonata No. 7 (Viktor Ullmann)……………………………………………………40 String Trio (Gideon Klein)……………………………………………………………….44 “Al S’Fod” (Pavel Haas)…………………………………………………………………47 “Přijde jaro přijde”………………………………………………………………………49 The Act of Making -
(Jewish) Archive of Gideon Klein - Terezín, 1941-1944
(Re)visiting the (Jewish) Archive of Gideon Klein - Terezín, 1941-1944 David Fligg Abstract Moravian-born composer and pianist Gideon Klein was just 22 when he was deported from Prague to the Terezín (Theresienstadt) ghetto. Working alongside fellow internees, some of them Czechoslovakia's finest musicians, Klein has been almost completely referenced by his imprisonment. Though understandable given the circumstances, such a view is nonetheless somewhat simplistic and problematic when evaluating the complex circumstances of what took place in Terezín. This chapter explores recent research surrounding Klein's final work, the String Trio, and how the piece might be referenced to Klein’s Jewish background by way of the works Klein composed in occupied Prague. The chapter will also raise the issue of how we might define Klein’s music beyond the discourse of creativity under adversity. MUSICAL BACKGROUND On 7 October 1944, the composer Gideon Klein, imprisoned in the Terezín (Theresienstadt) ghetto since December 1941, completed his Trio for Violin, Viola and Cello. Along with Viktor Ullmann's Der Kaiser von Atlantis (The Emperor of Atlantis) and Hans Krasa's Brundibár, Klein's String Trio is amongst the most widely-performed of all the music associated with Terezín, and has become a standard item in the string trio repertoire.1 This is not only because it is a tremendously fine work, popular amongst performers and audiences alike, but also because it carries with it the emotive image of being the last work that the 24-year-old Klein composed, completed a few days before his deportation from Terezín to Auschwitz, and to his ultimate murder. -
Holocaust Glossary
Holocaust Glossary A ● Allies: 26 nations led by Great Britain, the United States, and the Soviet Union that opposed Germany, Italy, and Japan (known as the Axis powers) in World War II. ● Antisemitism: Hostility toward or hatred of Jews as a religious or ethnic group, often accompanied by social, economic, or political discrimination. (USHMM) ● Appellplatz: German word for the roll call square where prisoners were forced to assemble. (USHMM) ● Arbeit Macht Frei: “Work makes you free” is emblazoned on the gates at Auschwitz and was intended to deceive prisoners about the camp’s function (Holocaust Museum Houston) ● Aryan: Term used in Nazi Germany to refer to non-Jewish and non-Gypsy Caucasians. Northern Europeans with especially “Nordic” features such as blonde hair and blue eyes were considered by so-called race scientists to be the most superior of Aryans, members of a “master race.” (USHMM) ● Auschwitz: The largest Nazi concentration camp/death camp complex, located 37 miles west of Krakow, Poland. The Auschwitz main camp (Auschwitz I) was established in 1940. In 1942, a killing center was established at Auschwitz-Birkenau (Auschwitz II). In 1941, Auschwitz-Monowitz (Auschwitz III) was established as a forced-labor camp. More than 100 subcamps and labor detachments were administratively connected to Auschwitz III. (USHMM) Pictured right: Auschwitz I. B ● Babi Yar: A ravine near Kiev where almost 34,000 Jews were killed by German soldiers in two days in September 1941 (Holocaust Museum Houston) ● Barrack: The building in which camp prisoners lived. The material, size, and conditions of the structures varied from camp to camp. -
Cultural Life in the Theresienstadt Ghetto- Dr. Margalit Shlain [Posted on Jan 5Th, 2015] People Carry Their Culture with Them W
Cultural Life in the Theresienstadt Ghetto- Dr. Margalit Shlain [posted on Jan 5th, 2015] People carry their culture with them wherever they go. Therefore, when the last Jewish communities in Central Europe were deported to the Theresienstadt ghetto (Terezin in Czech), they created a cultural blossoming in the midst of destruction, at their last stop before annihilation. The paradoxical consequence of this cultural flourishing, both in the collective memory of the Holocaust era and, to a certain extent even today, is that of an image of the Theresienstadt ghetto as having had reasonable living conditions, corresponding to the image that the German propaganda machine sought to present. The Theresienstadt ghetto was established in the north-western part of the Protectorate of Bohemia and Moravia on November 24, 1941. It was allegedly to be a "Jewish town" for the Protectorate’s Jews, but was in fact a Concentration and Transit Camp, which functioned until its liberation on May 8, 1945. At its peak (September 1942) the ghetto held 58,491 prisoners. Over a period of three and a half years, approximately 158,000 Jews, from the Protectorate of Bohemia and Moravia, Germany, Austria, Holland, Denmark, Slovakia, and Hungary, as well as evacuees from other concentration camps, were transferred to it. Of these, 88,129 were sent on to their death in the 'East', of whom only 4,134 survived. In Theresienstadt itself 35,409 died from "natural" causes like illness and hunger, and approximately 30,000 inmates were liberated in the ghetto. This ghetto had a special character, as the Germans had intended to turn it into a ghetto for elderly and privileged German Jews, according to Reinhard Heydrich’s announcement at the "Wannsee Conference" which took place on January 20th, 1942 in Berlin. -
Derek Sayer ANDRÉ BRETON and the MAGIC CAPITAL: an AGONY in SIX FITS 1 After Decades in Which the Czechoslovak Surrealist Group
Derek Sayer ANDRÉ BRETON AND THE MAGIC CAPITAL: AN AGONY IN SIX FITS 1 After decades in which the Czechoslovak Surrealist Group all but vanished from the art-historical record on both sides of the erstwhile Iron Curtain, interwar Prague’s standing as the “second city of surrealism” is in serious danger of becoming a truth universally acknowledged.1 Vítězslav Nezval denied that “Zvěrokruh” (Zodiac), which appeared at the end of 1930, was a surrealist magazine, but its contents, which included his translation of André Breton’s “Second Manifesto of Surrealism” (1929), suggested otherwise.2 Two years later the painters Jindřich Štyrský and Toyen (Marie Čermínová), the sculptor Vincenc Makovský, and several other Czech artists showed their work alongside Hans/Jean Arp, Salvador Dalí, Giorgio De Chirico, Max Ernst, Paul Klee, Joan Miró, Wolfgang Paalen, and Yves Tanguy (not to men- tion a selection of anonymous “Negro sculptures”) in the “Poesie 1932” exhibition at the Mánes Gallery.3 Three times the size of “Newer Super-Realism” at the Wads- worth Atheneum the previous November – the first surrealist exhibition on Ameri- 1 Not one Czech artist was included, for example, in MoMA’s blockbuster 1968 exhibition “Dada, Surrealism, and Their Heritage” or discussed in William S. Rubin’s accompanying monograph “Dada and Surrealist Art” (New York 1968). – Recent western works that seek to correct this picture include Tippner, Anja: Die permanente Avantgarde? Surrealismus in Prag. Köln 2009; Spieler, Reinhard/Auer, Barbara (eds.): Gegen jede Vernunft: Surrealismus Paris-Prague. Ludwigshafen 2010; Anaut, Alberto (ed.): Praha, Paris, Barcelona: moderni- dad fotográfica de 1918 a 1948/Photographic Modernity from 1918 to 1948. -
Der Zug in Die Freiheit
Der Zug in die Freiheit Das Schicksal jüdischer Gefangener aus dem KZ Theresienstadt und ihr Auf- enthalt im Hadwig-Schulhaus in St. Gallen im Februar 1945 Eine Untersuchung von Einzelfällen und die Darstellung individueller Schicksale auf der Grundlage von Zeitzeugengesprächen und Quellenanalysen Masterarbeit Verfasserin: Catrina Schmid Feldweg 5 7324 Vilters +41 79 636 56 26 eingereicht am 24. August 2017 Betreuung: Co-Betreuung: Prof. Johannes Gunzenreiner Prof. Dr. Claudio Stucky Seminarstrasse 7 Seminarstrasse 27 9200 Gossau 9400 Rorschach [email protected] [email protected] Masterarbeit: Der Zug in die Freiheit Vorwort Die vorliegende Masterarbeit mit dem Namen „Der Zug in die Freiheit“ ist das Resultat mei- ner Untersuchungen und Recherchen im Zeitraum von Dezember 2015 bis Sommer 2017. Sie bildet den Abschluss meiner Ausbildung zur Oberstufenlehrperson an der Pädagogi- schen Hochschule in St. Gallen. Als ich ein Thema für meine Masterarbeit suchte, war für mich klar, dass ich ein Thema aus dem Fachbereich Geschichte, bzw. ein Thema aus dem Zweiten Weltkrieg untersuchen möchte. Von Mai bis September 2015 fand in unserem Hochschulgebäude Hadwig in St. Gallen eine Ausstellung über die Theresienstadt-Flüchtlinge statt. Die Ausstellung über die Flüchtlinge weckte mein Interesse. Der Vorschlag meiner Betreuungsperson, als Thema die Erinnerung der St. Galler Bevölkerung an die Flüchtlinge im Hadwig zu nehmen, sprach mich sofort an. Diese Arbeit richtet sich an ein Publikum, welches ein grundlegendes Wissen über den Ver- lauf des Zweiten Weltkrieges und den damit verbundenen Nationalsozialismus besitzt. Für die grossartige Unterstützung und Begleitung danke ich meinem Betreuer Prof. Johan- nes Gunzenreiner und meinem Co-Betreuer Prof. Claudio Stucky herzlich. -
Additional Research Notes
Additional Research Notes Below is more information related to Joe’s story, including concen tration camps, ship transporting dislocated persons, camp for dislocated persons, camp commandants/other Nazi officials and their fate, and famous shoe companies. 1. Concentration Camps A. Auschwitz/Birkenau, Poland (Concentration Camp) Author’s Note : Joe arrived at Auschwitz on April 30, 1942 and was housed at its sister camp, Birkenau, or “Auschwitz II,” where two days a week he was forced to move the bodies of the dead from the gas chamber to open pits. He was also required to do daily calisthenics and work in many other areas around the camp, including snow removal on the massive grounds. Joe was eventually assigned to a slave labor crew working in a nearby coal mine. For a short while, the inmate miners were forced to walk several miles each day to the coal mine and back. When Joe was finally moved from Birkenau to a camp near the coal mine, he le Auschwitz for the last time, but the mining camp remained under the authority of Auschwitz. Joe permanently lost the hearing in one ear from the repeated explosions of dynamite. Documents provided by the United States Holocaust Memorial Museum in Washington, D.C., show that in June 1944, Joe (Juzek Rubinsztein) was sent from the Auschwitz complex (we believe from the Jawischowitz Sub-camp/Brzeszcze Coal Mine) to Buchenwald, Germany. His official number while at Auschwitz was 34207. At Buchenwald, his number was 117.666. 1, 2 e Auschwitz Concentration Camp, located thirty-seven miles west of Krakow, near the Polish city of Oswiecim, was in an area annexed by Nazi Germany in 1939 aer its invasion of Poland. -
ANNUAL REPORT 2013 Birkenwald
ANNUAL REPORT 2013 Birkenwald. Forest of Auschwitz II-Birkenau, the ruins of crematory V in the background. In German, Birkenau means “stand of birch trees.” Ethel Buisson took this photograph as she followed in the footsteps of her grandfather, Srul Ruger, who died in Auschwitz in 1942. Her trip was published in 2014 in the journal Tenou’a. 1 An in-depth work that is more essential than ever Currently, Europe is experiencing a resurgence of anti-Semitism. This disturbing reality is due to an increasingly violent and vociferous minority. The association of disparate movements under the banner of anti-Semitism and conspiracy theories should be a warning. Ridiculed and even denied, the Shoah has been exploited with this hate speech, which shamelessly tramples on the memory of the victims. This dangerous excess is unacceptable; fortunately, it has been widely condemned by public authorities and society at large. Faced with this reality, the Foundation for the Memory of the Shoah intends to pursue the in-depth work it began 13 years ago: education, based on a knowledge of history and action that refuses any “competing memories,” combined with public vigilance. Schools are crucial to this work, and I would like to congratulate the many teachers who, with their students, pursue productive pedagogical initiatives every year. The year 2013 was also marked by two projects, which the Foundation is particularly proud to have supported. The first is the memory site inaugurated in Le Chambon-sur-Lignon, a place that presents the history of the Vivarais Plateau, whose residents sheltered hundreds of Jews fleeing the persecutions of the war.