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Ferramonti Vergessen Wir Nicht»: Historical and Aesthetical Perspectives on Music in a Fascist Internment Camp 1940-45

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Ferramonti Vergessen Wir Nicht»: Historical and Aesthetical Perspectives on Music in a Fascist Internment Camp 1940-45 «Ferramonti vergessen wir nicht»: Historical and Aesthetical Perspectives on Music in a Fascist Internment Camp 1940-45 Inauguraldissertation zur Erlangung der Doktorwürde der Philosophischen Fakultät der Universität Heidelberg vorgelegt von: Silvia Del Zoppo Gutachter: Prof. Dr. Cesare Fertonani Prof. Dr. Inga Mai Groote Cotutelle de Thèse - Binational Doctoral Training Università degli Studi di Milano Dottorato in Scienze del Patrimonio Letterario, Artistico e Ambientale a. a. 2016 / 2017 XXX ciclo Matr. R 11065 Diese Arbeit wurde durch ein Promotionsstipendium der Fratelli Confalonieri Stiftung - Milano gefördert. Datum: 11.06.2018 meinem Großonkel Leonhard Oxenius gewidmet Ringraziamenti Esprimo la mia più profonda e sincera gratitudine al mio Doktorvater, Prof. Dr. Cesare Fertonani e alla mia Doktormutter, Prof. Dr. Inga Mai Groote, autentici “genitori spirituali” per la mia formazione professionale e personale, oltre che imprescindibili guide per la realizzazione del presente lavoro. Nel corso della cerimonia di conferimento della borsa di studio dottorale – per la quale un sentito ringraziamento va alla Fondazione Fratelli Confalonieri, per la fiducia e il supporto materiale alle mie ricerche - tre auguri furono espressi dalla Sen. Elena Cattaneo agli assegnatari: non accontentarsi mai dei propri risultati; non temere la solitudine delle proprie idee; essere consapevoli di non lavorare solo per se stessi, ma sempre nell’ambito di una comunità. Penso che per ciascuno di questi valori, indispensabili a chiunque si avvicini con autenticità alla ricerca, non avrei potuto chiedere testimoni migliori, che con i loro insegnamenti, ma soprattutto con il loro esempio, guidassero il mio lavoro e la mia formazione di giovane ricercatrice. Un ringraziamento speciale spetta poi a due persone meravigliose, Wendy Corbacio e Petra Doell, per il loro paziente e meticoloso impegno nella revisione linguistica dei testi, che si è spinto ben oltre la normale consulenza di due esperte e capaci docenti madrelingua, ma si è espresso anche in un sincero interesse e coinvolgimento per le tematiche trattate. Grazie anche ad Antonella Del Giudice per i suggerimenti stilistici. Sono profondamente grata ai miei Revisori esterni, per l’acribia con cui hanno esaminato il lavoro ancora in fase di elaborazione e per i preziosi consigli. Ringrazio in particolare il Dr. Mauro Fosco Bertola, per il sostegno alla mia cotutela con Dipartimento di Musicologia dell’Università di Heidelberg, e il Dr. Massimiliano Livi, per la significativa esperienza nell’ambito della 2017 Logos Doktoranden- und Doktorandinnenschule in den Geistes- und Sozialwissenschaften, sul tema “Espace/Mémoire” – a questo proposito, un ringraziamento alla mia Relatrice per la segnalazione e al Prof. Dr. Kümper per il gentile invito in qualità di dottoranda ospite. La mia riconoscenza va al CDEC - Centro di Documentazione Ebraica Contemporanea, al personale e ai collaboratori della Biblioteca; ai Professori Mario Rende (Università di Perugia), Dušan Mihalek (Università di Be’er Sheva), Hans-Jurgen̈ Lusebrink̈ (Università del Saarland), Vojislava Radovanovic (Direttrice del Jewish Historical Museum in Belgrade), per le fonti, i materiali, i riferimenti bibliografici, i contatti personali gentilmente forniti. Ringrazio anche i Professori dell’Università degli Studi di Milano Marco Cuzzi (Storia Contemporanea), Bruno Falcetto (Letteratura Contemporanea), Laura Boella (Filosofia Ermeneutica) per i numerosi spunti di riflessione offerti nei seminari del ciclo “Promemoria”, e la mia allieva, Nathalie Guinot, per aver stimolato il mio interesse per il campo di Ferramonti. Un ricordo speciale corre poi a Riccardo Schwammenthal e a Peter Silberstein: la corrispondenza con due ex-prigionieri del campo di Ferramonti - giovanissimi all’epoca dei fatti - mi ha consentito di toccare con mano l’incolmabile iato tra ricerca storica ed esperienza vissuta e l’urgenza etica, prima ancora che culturale, del fare memoria. In riferimento alla mia formazione dottorale tout court, esprimo sincera gratitudine al Prof. Giorgio Bosetto e alla Prof. Luisa Zanoncelli, che con la loro solerzia e instancabilità hanno organizzato e curato sin nei minimi dettagli occasioni formative d’eccellenza per giovani musicologi, attraverso i Campus Estivi presso la Fondazione Ugo e Olga Levi - Venezia. Ci sono poi le persone che mi hanno indirettamente supportato (e sopportato) nei tre anni di peregrinazioni italo-tedesche: in primis mio fratello Davide, la mia amica Marta Santarone (insostituibile complice di parentesi romane e senesi), Laura Zanoli; Monika Glinksmer, Christine Egger e Naomi Nordblom, per aver reso i miei soggiorni all’estero meno solitari. Mi onora inoltre poter citare tra le persone amiche, oltre che tra le figure di riferimento, il Direttore della Fondazione Musicale Appiani, M° Erminio Della Bassa, e le mie colleghe M° Claudia Villa e M° Claudia Pelucchi che in questi anni si sono adoperati per consentirmi di lavorare nelle megliori condizioni su ogni fronte. Da ultimo - ma solo in ordine cronologico - ringrazio la Graduiertenakademie der Universität Heidelberg, per l’Abschlussstipendium der Exzellenzinitiative con cui sono stati finanziati anche gli ultimi mesi della presente ricerca. Milano, Giugno 2018 Silvia Del Zoppo Table of Contents ZUSAMMENFASSUNG/ABSTRACT ................................................................................ 11 INTRODUCTION.................................................................................................................... 14 1. SUBJECT AND REASONS OF THE RESEARCH ...................................................... 16 1.1THE STATE OF ART .......................................................................................................... 16 1.2 LAGERMUSIK .................................................................................................................... 20 1.3 SHOAH REPRESENTATIONS THROUGH ART ............................................................... 21 1.4 LOOKING FOR MEANING ............................................................................................... 27 2. SOURCES ............................................................................................................................... 30 3. HISTORICAL PREMISES .................................................................................................. 36 3.1 INTERNMENT AND PERSECUTION ................................................................................ 36 3.2 THE RACIAL LAW IN 1938 .............................................................................................. 40 3.2.1 THE EMANATION OF RACIAL LAWS: FROM 1922 TO 1938 3.2.2 THE JURIDICAL DEFINITION OF “JEW” AND ITS RACIAL AND XENOPHOBIC CRITERIA 3.3 GENERAL CONSIDERATIONS ABOUT PERSECUTION OF JEWS IN ITALY ................. 42 3.4 FASCIST PROPAGANDA AND CONSENSUS IN THE SOUTH OF ITALY ........................ 47 3.4.1 HISTORICAL BACKGROUND 3.4.2 THE ROLE OF THE PRESS IN CALABRIA 3.5 GEOGRAPHY OF FASCIST INTERNMENT CAMPS BETWEEN 1940-1943 ................... 50 4. FERRAMONTI: THE HISTORY OF THE CAMP ...................................................... 54 4.1 BUILDING ......................................................................................................................... 54 4.2 THE PENTCHO ................................................................................................................ 59 4.3 AID ORGANIZATIONS ..................................................................................................... 61 4.3.1 THE ROLE OF DELASEM 4.3.2 KALK AND HIS MENSA DEI BAMBINI 4.3.3 APOSTOLIC NUNCIO BORGONGINI DUCA AND VATICAN AIDS 4.4 THE CAMP BETWEEN JANUARY 1942 AND SEPTEMBER 1943 .................................. 69 4.5 CAMPS REGULATIONS ..................................................................................................... 72 4.5.1 GENERAL RULES CONCERNING ITALIAN CAMPS 4.5.2 REGULATION IN THE CAMP OF FERRAMONTI 4.6 LIBERATION, FORT ONTARIO AND OTHER DESTINATIONS .................................... 76 5. MUSIC PERFORMANCES IN THE CAMP .................................................................. 80 5.1 MUSIC IN EVERYDAY LIFE ............................................................................................. 80 5.2 KONZERTVERANSTALTUNG IN FERRAMONTI............................................................. 92 5.2.1 THE CONCERT ON MARCH 23, 1941 5.2.2 THE CONCERT ON APRIL 14, 1941 5.2.3 THE CONCERT ON MARCH 8, 1942 5.2.4 THE CONCERT ON DECEMBER, 6 1942 5.2.5 THE CONCERT ON JULY 27, 1941 5.3 LIEDER ............................................................................................................................105 5.3.1 FERRAMONTI LIEDER IN THE KALK ARCHIVE 5.3.2 FERRAMONTI WALZER COMPARISONS WITH LIEDER FROM OTHER CAMPS 5.4 FERRAMONTI-SCHULE AND MUSICAL EDUCATION ................................................112 5.5 JAZZ AND KABARETT MUSIK.......................................................................................122 5.5.1 JAZZ MUSIC 5.5.2 RADIO BROADCASTING AND POPULAR MUSIC 5.6 CONCERTS AFTER LIBERATION ..................................................................................130 5.6.1 THE CHARITY CONCERT IN FAVOUR OF INJURED POPULATION 5.6.2 MUSICAL ACTIVITIES IN FERRAMONTI AS A DP-CAMP 5.6.3 THE CONCERT OF THE AUSTRIANS IN 1944 5.6.4 CONCERTS ON JEWISH FEASTS 5.7 COMPARISONS WITH MUSICAL ACTIVITIES IN OTHER CAMPS ...............................143 6. THE INSTRUMENTS
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