United Nations Holocaust Memorial Ceremony and Concert 27 January 2010 2010 Holocaust Remembrance Activities United Nations Headquarters, New York The 2010 observance of the International Day of Commemoration in memory of the victims of the Holocaust will focus on a central theme that emphasizes the legacy that survivors will pass International Day of Commemoration on to succeeding generations. The theme “Holocaust Remembrance: the Legacy of Survival” highlights the moral messages expressed by those who have suffered from Nazi persecution and the denial of basic human rights. As there are fewer survivors to tell their stories today, it is in Memory of the of primary importance that these universal lessons be shared with all fellow human beings. Only this will ensure that their legacy will continue to promote respect for diversity and human rights Victims of the Holocaust for generations to come. Holocaust remembrance activities will also be organized by the global network of United Nations Information Centres. The week-long observance at United Nations Memorial Ceremony and Concert Headquarters in New York will include the following events and partners:

25 January Exhibit Opening: “Generations: Survival and the Legacy of Hope” Conscience Display; UK Holocaust Centre; USC Shoah Foundation Institute for Visual History and Education; San Diego Jewish Cultural Centre United Nations Public Lobby 6:00 p.m.

26 January Exhibit Opening: “Architecture of Murder: The Auschwitz-Birkenau Blueprints” American & International Societies for Yad Vashem; Yad Vashem - The Holocaust Martyrs’ and Heroes’ Remembrance Authority, United Nations Public Lobby Nürnberg Philharmonic 6:00 p.m. 27 January – Holocaust Remembrance Day Bayreuth Zamir Choir Panel Discussion: “Interreligious Responses to the Holocaust: 65 Years after Liberation” B’nai B’rith International, Permanent Mission of the Czech Republic to the United Nations Temporary North Lawn Building, Conference Room 2 Jerusalem Oratorio Chamber Choir 3:30 p.m. - 5:30 p.m.

Holocaust Memorial Ceremony and Concert Issak Tavior, Conductor General Assembly Hall Government of Germany, Staatstheater Nürnberg 7:00 p.m. Professor Nechama Tec, Keynote Speaker

28 January DPI-NGO briefing on the legacy of the Jews in Morocco Temporary North Lawn Building, Conference Room 3 10:00 a.m. - 12:30 p.m. 27 January 2010 . United Nations General Assembly Hall Film screening of “Defiance” Paramount Pictures, Permanent Mission of the United States to the United Nations 7:00 p.m. Temporary North Lawn Building, Conference Room 3 6:00 p.m. - 8:30 p.m.

For more details please visit: www.un.org/holocaustremembrance Programme

Mr. Kiyotaka Akasaka Professor Nechama Tec, Keynote Speaker United Nations Under-Secretary-General for Communications and Professor Emerita of Sociology, University of Connecticut, Stamford; Public Information Holocaust survivor and scholar; author of eight books, including Defiance Message from Mr. Ban Ki-moon United Nations Secretary-General Mr. Roland Tec Co-producer of the film Defiance Message from the President of the sixty-fourth session of the General Assembly Mount Sinai Cantata delivered by the Vice President III. Shabbat Kodesh V. See the Voices H.E. Ambassador Peter Wittig VI. And Obey We Shall Permanent Representative of Germany to the United Nations Issak Tavior Barbara Baier, soprano The Vision of the Dry Bones Christine Hübner-Hart, alto Issak Tavior (b. 1943) James Clark, tenor Mr. Andrzej Mirga Senior Adviser on Roma and Sinti Issues H.E. Yuli-Yoel Edelstein Office for Democratic Institutions and Human Rights Minister of Information and Diaspora, Israel Organization for Security and Co-operation in Europe

Ein deutsches Requiem, Op. 45 Overture to the Tragedy, Egmont, Op. 84 V. Ihr habt nun Traurigkeit Ludwig Van Beethoven (1770-1827) Johannes Brahms (1833-1897) Barbara Baier, soprano Mr. Zev Salomon Muller Chief Cantor of the West Side Institutional Synagogue Suite modale Ani Ma’amin (“I Believe”) No. 1 Moderato El Maleh Rachamim (“Merciful God”) No. 2 L’istesso tempo No. 3 Allegro giocoso The Last Days To Come* Ernst Bloch (1880-1959) Issak Tavior H.E. Ambassador Martin Ney, flute Barbara Baier, soprano Deputy Permanent Representative of Germany to the United Nations Christine Hübner-Hart, alto James Clark, tenor Haggi Goren, speaker

* World premiere performance. 2 3 The Holocaust and the United Nations Outreach Programme Outreach Division, United Nations Department of Public Information experiences of the survivors, the Programme shows that the failure of mankind to prevent the Holocaust has direct relevance to the dangers of genocide that persist today. The International Day is also widely ob- On 1 November 2005, the United Nations (UN) General Assembly served with ceremonies and activities at UN offices around the world. adopted resolution 60/7 designating 27 January as the annual In- ternational Day of Commemoration in memory of the victims of the Educational Materials Holocaust. The General Assembly also requested the Secretary- The Holocaust and the United Nations Outreach Programme sup- General to establish a programme of outreach on the subject of the ports the development of educational curricula by Member States “Holocaust and the United Nations” to mobilize civil society for on the lessons of the Holocaust in a number of ways. In co-operation Holocaust remembrance and education, and tohelp prevent future acts with leading institutions on Holocaust studies, the Programme has of genocide. Since its establishment in January 2006, the Department developed a wide variety of educational tools. Its latest publication, the of Public Information’s (DPI) Holocaust and the United Nations Discussion Papers Journal, provides a forum for scholars and experts on Outreach Programme has developed a multi-faceted programme, built an Holocaust and genocide from around the world to raise issues for international network of civil society groups, collaborated with world- debate and further study amongst secondary and university students. renowned institutions and garnered the support of expertsin the field of The Programme has also developed the Footprints for Hope initiative, Holocaust and genocide studies. which includes a short educational film title “Footprints: Discover- ing the Holocaust through Historical Artefacts”, a power-point pre- These partnerships have resulted in the increase of multiple redissemi- sentation and a lesson plan. These tools are designed for educators nators of the programme’s key messages: honour the memory of the to introduce and explore the history of the Holocaust with younger victims; respect the dignity and worth of each individual; celebrate students (age 10 and up) through a discussion about an historical arte- diversity; protect human rights; combat Holocaust denial; and learn from fact, a child’s shoe found at Auschwitz-Birkenau. In addition, the Pro- the circumstances that led to and perpetuated the Holocaust, which gramme’s gateway website (www.un.org/holocaustrememberence) remain valuable lessons for the prevention of genocide. The Holocaust also offers a number of innovative online information products and serves as a warning of the consequences of anti-Semitism and other teaching resources on the Holocaust and prevention of genocide such forms of discrimination today. as: teachers guidelines, events webcasts, the Electronic Notes for Speakers (an online pedagogical tool that provides concise, detailed Through the Programme, DPI is also a permanent observer to the information on the history and human experience of the Holo- Task Force for International Cooperation on Holocaust Education, caust), etc. Some of these tools are also available through Youtube Remembrance and Research, which was commended by the General and Wikipedia. Assembly for its work. Panel discussions The International Day of Commemoration in memory of the victims Since 2006, the Holocaust and the United Nations Outreach Programme of the Holocaust has organized five interactive roundtable discussions designed to The International Day of Commemoration in memory of the victims promote awareness of the lessons of the Holocaust and their of the Holocaust is observed each year on 27 January in the General implications for combating genocide today. By examining best Assembly Hall at United Nations Headquarters with a memorial practices to fight hatred, racism and Holocaust denial, the discussions ceremony on the theme “Remembrance and Beyond”, which serves aimed to mobilize civil society and the international community to help to highlight and connect the main two elements of the Programme – prevent mass violence. Held at United Nations Headquarters in New remembering the victims of the Holcaust and helping to prevent future York, the seminars are attended by members of the diplomatic commu- acts of genocide. As a counterpoint to Nazi ideology, which sought to strip nity, non-governmental organizations, students, educators and United victims of their humanness, remembrance focuses on the individual Nations staff members. These evetns are also webcast and available and works to give each person a face, a name and a story. Through the on the Programme’s website. recollection of the journeys of those who perished and by sharing the

4 5 Performer Biographies

United Nations Information Centres Issak Tavior, conductor and composer The Holocaust and the United Nations Outreach Programme provides the The European press has described Issak Tavior’s music as lyrical and global network of United Nations information centres (UNICs), services dynamic – “dance passages are alternately spiked with rhythmic chant- (UNIS) and offices (UNOs) in over 60 countries with guidelines on Holocaust ing;” “It resounds with impressive, powerful and dramatic changes;” Remembrance Day, teaching materials on the Holocaust and its underlying “…surprise after surprise;” “…jumping over borders;” “…without limit.” issues, and ongoing guidance on related topics to promote the lessons of the Holocaust in order to help to prevent future acts of genocide. Mr. Tavior’s rich experience relates to various forms of musical expression as a concert pianist, conductor and composer. Born in In 2007 and 2008, the Programme also partnered with Holocaust institu- Haifa, Israel, Tavior graduated from the Israel Music Academy in tions to organize four training seminars designed to enhance the knowl- Tel Aviv studying with Ilona Vince and Jerome Leventhal and later in London edge and skills of local level staff at United Nations Information Centres with Peter Fuchtwanger and in Geneva with Professor Hildebrant. As worldwide. The purpose of these seminars was to better equip the infor- a conductor, Mr. Tavior studied with Noam Shariff in Israel, with mation officers in the field to raise public awareness about the Holocaust Franco Ferrara in Sienna Italy, with Hans Swarovsky in Vienna and with and its relevance today, and apply the principles they learn to outreach Milan Horvat in Salzberg.Although resident in Israel, Issak Tavior activities that promote respect for diversity and human rights. has performed mainly on European radio stations and with European orchestras as a conductor and concert pianist. In 1977, Exhibitions he formed the Galillee Symphony Orchestra, and since 1980 has been The Holocaust and the United Nations Outreach Programme helps to a guest lecturer on Music History at Haifa University. facilitate the organization of temporary exhibitions around 27 Janu- ary on Holocaust related topics. In addition, in 2008, the Programme Mr. Tavior’s piano recitals at his home studio in Hemdat Yamim, unveiled a permanent exhibit on the “Holocaust and the United Nations” in the Upper Galillee region of Israel, have attained an international on the guided tours route at United Nations Headquarters. The exhibit, reputation as a cultural attraction for thousands of tourists and visitors developed with the assistance Holocaust scholars from leading institutions, from all over the world. presents an overview of the tragedy in the context of World War II and the founding of the United Nations. It is seen by the 400,000 visitors who visit In 2005, together with soprano singer, Barbara Baier, Mr. Tavior established United Nations Headquarters annually. the Zamir Choir in Bayreuth, Germany which performs biblical concerts together with the Jerusalem Oratorio Chamber Choir. On the occasion Film Screenings of Israel’s 60th Anniversary in 2008, he conducted performances of his The Holocaust and the United Nations Outreach Programme has screened biblical compositions in Germany with the Nüremberg Philharmonic a dozen documentary and feature films on the Holocaust and the Orchestra and the Hofer Symphony Orchestra. prevention of genocides. Many of the films have been screened at United Nations Headquarters in New York and several United Nations H.E. Ambassador Martin Ney, flute Information Centres around the world. Deputy Permanent Representative of Germany to the United Nations Before receiving two law degrees from Wuerzburg University and a For more information on the Holocaust and the United Nations Masters degree in politics and economics from Oxford University, Outreach Programme, please visit: www.un.org/holocaustremembrance Ambassador Ney served as the co-principle flautist with the First or email: [email protected] German Airforce Band in Munich from 1974 until 1976. During this period, Ambassador Ney occasionally played at the Munich Opera (Staatstheater am Gaertnerplatz) as a second flautist. Despite taking on a professional career outside the music world, he continued to pursue his love of music For a year he studied with the acclaimed flautist Maxence Larrieux

6 7 at the Geneva Conservatory. During his diplomatic postings Ambassador James Clark, tenor Ney has had the opportunity to play with many orchestras including the James Clark was born in Syracuse, New York and grew up in Bangkok Symphony Orchestra, the Orchestra of the Levine School New Jersey. He began his musical studies at the age of five with of Music (Washington DC), the Sarajewo Symphony Orchestra, and with piano and later violin. He received a Bachelor of Arts from Montclair State Japanese professional musicians in Tokyo. Since 2005 he has repeat- College with an instrumental emphasis, served in Vietnam as a US edly performed as a soloist with the “Frankfurter Solisten” (the chambre Marine Corps infantry officer and then continued his studies at the orchestra of the Frankfurt Opera). Two of those concerts have been Manhattan School of Music receiving a Master of Music degree recorded on CD. When Pope Benedict XVI visited the UN in 2008 he had in opera and voice. He made his professional singing debut at the privilege to perform a private concert for his Holiness. Carnegie Hall in Mahler’s Eighth Symphony and was then a soloist with the New York City Opera coming to Germany in 1991. Mr. Clark has sung Barbara Baier, soprano over 35 major tenor operatic roles ranging from Edgardo in Donizetti’s Barbara Baier is a native of Bayreuth, Germany and regularly performs in “Lucia di Lammermoor” to Erik in Wagner’s “Fliegender Holländer” opera, operetta as well as musicals. Following her vocal studies at the and numerous concerts in the USA, Germany, Austria, Czech Republic, Folkwang Hochschule in Essen, she was a soloist at many German Romania and Switzerland. He makes his home in Hof, Germany where theaters, including engagements in Dortmund, Bremen and at the he has lived since 1992. Festspielhaus in Bayreuth. Additional engagements have included performances in Helsinki, St. Moritz, and Vienna. Barbara Baier is a Nürnberg Philharmonic founder and music director of the Bayreuth Zamir Choir. (Zamirchor) The Nürnberg Philharmonic is one of the most important orches- In addition to the Zamirchor, she teaches extensively, and in 2004, she tras in Bavaria and the Nürnberg metropolitan region and is involved accepted a lectureship in voice at the University of Bayreuth. She has in a wide variety of concert activities. The Nürnberg Philharmonic is also taught at the Municipal School of Music in Kulmbach. Her students the resident orchestra of the State Theatre Nürnberg; it also gives the have achieved many successes including regional and national honors, Philharmonic Concerts, a series of symphony concerts with eight dif- including the prestigious “Youth Makes Music” competition, and many are ferent programmes per season and performs regularly in other places. members of the Zamirchor. Since 1994, working independently under the name “Philharmonie”, they have run a successful series of chamber concerts. In 1981 the Nürnberg Christina Hübner-Hart, alto Philharmonic were granted Category A status for classical orchestras Christine Hübner-Hart, a native of Lower Franconia in Bavaria, did not in Germany. choose the classical way to be a singer; she first studied and graduated with a degree in social pedagogy. Ms. Hübner-Hart then studied voice The history of the Nürnberg Philharmonic can be traced back to the at the Conservatory for Music in Wurzburg with Professor Herbert Roth. Council of the Imperial City first mentioned in 1377 (known as After graduating with honors, she attended various master classes with “Musikchor” from 1806). In the Baroque period Nürnberg was one of the renowned artists and teachers and has been successful in performing lie- centers of German opera, a tradition only recently rediscovered. From 1801 der and oratorio at home and abroad. In addition to her career as a soloist, the musicians performed regularly in productions of the new “Nürnberg Miss Hübner-Hart teaches voice and rhetoric. National Theatre” founded by Leonhard Aurnheimer. In 1833 the orchestra moved into the newly-built City Theatre at Lorenzer Platz. After the opening in 1905 of the new Opera House, the orches- tra of the City Theatre was merged with the private “Philharmonic Orchestra” founded by Hans Winderstein in 1880. This was the birth of the Nürnberg Philharmonic in it’s present form. Initially, the orchestra com- prised 110 musicians, which number was reduced during the economic

8 9 crises of the Weimar Republic. The Philharmonic Concerts which since Bayreuth Zamir Choir the 1960s have taken place in the Meistersingerhalle date back to this Formed in 2005 in Bayreuth by Issak Tavior and Barbara Baier, the founding period. In 1944 the Nürnberg Theatre was closed and the Zamirchor (Bayreuth Zamir Choir) began as an interesting combi- musicians conscripted for military service. nation of Germans singing music in Hebrew by an Israeli composer. In Hebrew, the name “zamir” means “nightingale” and the 40 In 1946/47 a new era began under artistic director Karl Pschigode and members of the chorus quickly learned the pronunciation of Maestro general musical director (GMD) Alfons Dressel. In 1968 the status of the Tavior’s works. The choir consists of both professional and amateur orchestra changed: having been attached exclusively to the theatre it singers from twelve to seventy years old. now became the “Philharmonic Orchestra of the City of Nuremberg”. As GMD from 1965-1988 Hans Gierster was responsible for much-acclaimed Following their first successful concert on Holocaust Memorial Day in productions such as “Moses und Aaron” (Arnold Schönberg), “” May of 2005, the Zamirchor was formally organized in April of 2006. (Bernd Alois Zimmermann), “Träume” () or ´s They perform a wide variety of repertoire including the works by Mozart, “Intolleranza 70“. From 1988-1992 GMD Christian Thielemann placed par- Mendelssohn, Rossini, and Purcell. In May of 2009, the choir was ticular emphasis on works of the late 19th and early 20th centuries, his featured in the semi-opera “Markgräfin Wilhemine“ composed by Martin successor Eberhard Kloke on the second Viennese school and contempo- Gräbner in a world premier at the Markgräflichen Theater in Bayreuth. rary music. In 1998 Philippe Auguin became GMD of the City of Nürnberg. The three compositions by Issak Tavior heard tonight were first Under his direction the orchestra played the complete cycle of Wagner´s performed in the summer of 2007 in Switzerland with the intent of “Ring” for the first time in almost 50 years. Chief conductor of the combining various musical traditions to maintain a harmonious dialogue Nürnberg Philharmonic and of the State Theatre Nürnberg since 2006 is between the East and West, Jews and Germans. Christof Perick. Jerusalem Oratorio Chamber Choir For many years the orchestra has served the cause of new compositions The Jerusalem Oratorio Chamber Choir consists of 28 singers and is in performance and in both concert halls and opera houses has premiered the representative body of Jerusalem Oratorio, the largest choral en- countless works by composers such as , Hans Werner terprise in Israel. The chamber choir has represented Israel in sev- Henze, Paul Hindemith, , György Ligeti, Krzysztof eral international festivals and on prestigious stages, including the Penderecki, , Isang Yun, oder Bernd Alois International Festival for Liturgical Music in Valencia, Spain (1999), Maggio Zimmermann. The most recent world premieres have been the operas Musicale in Florence (2000), and at the Israel Festival, Jerusalem “Liturgica” “Wolkenstein” by Wilfried Hiller und Luca Lombardi´s “Prospero.” Festival and Abu Gosh Vocal Music Festival. In 2006 the choir participat- ed in a unique project of Israelis and Palestinians in France “D’une Seule The Nürnberg Philharmonic has worked with many well-known Voix” and represented Israel in a concert-tour in Germany, honoring Isra- conductors and soloists. Since 1999, it has played Germany´s el’s 60th anniversary. The choir’s 2004 Jewish-Christian recording “The largest open-air classical music event, “Klassik Open Air beim Seventh Gate” was recently honored with a special French Academy Picknick im Park“ in Nürnberg. Recent guest performances have taken prize “The Golden Orpheus”. They have also performed live on Israel’s it, amongst other places, to Bejing, Nice, the Hong Kong Arts Festival “Voice of Music” radio station with original works by Israeli composers. and on a much-acclaimed concert tour of Austria in early summer 2007. The choir’s broad repertoire includes works from the early Renaissance to modern compositions, classical Jewish, Israeli, European and Ameri- can works, as well as traditional and folk music arranged for choir. Since 1998, Ronen Borshevsky has served as Music Director of the Jerusalem Oratorio Chamber Choir. The choir’s Managing Director is Haggai Goren.

10 11 Programme Notes

“Ancient and biblical texts inspired me to express the significance of And it shall come to pass in the last days (The Last Days to Come) our collective human existence over time – our significance in the past, Issak Tavior the present, and the future to come. These texts remain as relevant (b.1943) today as when they were written, perhaps more so”. – Issak Tavior This work contains a collection of comforting prophecies by Isaiah, Amos and Zephania depicting a state of world peace. (Isaiah 2:2): “nation shall The Vision of the Dry Bones not lift up sword against nation, neither shall they learn war any more” Issak Tavior (Isaiah 11:9): “The world will be filled with the knowledge of the Lord like (b.1943) water covering the sea.” Ezekiel’s parable reflects the resurrection and uplifting of the people of Israel from the abyss of exile and holocaust to redemption and the The composer gathered the comforting prophesies of some of the return to the land of Israel (Ezekiel, 37:12): “Thus said the Lord God; Prophets of Israel. These are reflected in the composition through his Behold, O my people, I will open your graves, and cause you to come up adherence to the vision of the Last Days to Come – a belief that the out of your graves, and bring you into the land of Israel.” achievement of this vision may be lengthy and fraught with obstacles, but it will eventually arrive. The composer envisaged Ezekial’s prophesy (that inspired his composi- tion) as the prediction of the return to Zion and gathering of the exiles Programme notes for The Vision of the Dry Bones, Mount Sinai Cantata and The Last Days to Come into the Land of Israel. The ‘dry bones’ are a metaphor for the bones of written by the composer, Issak Tavior. those who perished in the Holocaust, and Ezekial asks in the verse “bring you into the land of Israel” to whom does “you” refer, if not to the souls of Israel interwoven into Jewish existence for eternity? Ein deutsches Requiem, Op. 45, Mvt. V: “Ihr habt nun Traurigkeit” Johannes Brahms (Born May 7, 1833, in Hamburg, Germany; died April 3, 1897, Mount Sinai Cantata in Vienna, Austria) Issak Tavior Ein deutsches Requiem occupied Brahms sporadically for over ten (b.1943) years from the mid-1850’s to 1868. An extraordinary composition, it This work relates the account of giving of the Ten Commandments grew slowly into its final form, enriched by associations and events (Exodus 20), and the response of the Israelites (Exodus 24:7): “All that of significance to the composer and by his personal concern and the Lord has said will we do, and be obedient.” emotion. Brahms’ long-gestating work became an extraordinary, towering masterpiece both elevating and ennobling. The composer believes the Ten Commandments necessitate “A strong lamenting refrain” (perhaps for the first time). Given the evil laws that By 1861, the 5th anniversary of the death of his friend, composer engendered mass destruction, the God-given laws must again be Robert Schumann, Brahms was deeply involved in the Requiem, established as commandments that constitute the underpinning founda- which he perhaps first envisioned as a memorial to Schumann. Initially, tions for human society. he set texts from the Bible, which read more as a work of poetry and history than as a testament to religious belief. Later, he may have The composer believes the foundation of Jewish beliefs is “we will do modeled other aspects of the work on Franz Schubert’s Deutsches and be obedient”, performing a Commandment first without question and Requiem and Schumann’s Requiem für Mignon, with its text from then learning and delving more deeply into it’s meaning. Goethe’s Wilhelm Meister.

12 13 When Brahms’s mother died on January 31, 1865, his work on the Re- Suite modale has four closely related, integrated movements that may quiem entered a second phase. He sought comfort and consolation in be played with little or no pause between them. The first, a graciously his work, he said, after his loss. In 1866, he finished the Requiem. At lyrical Moderato features melancholic ideas shared by the soloist and its premiere, December 1, 1867, in Vienna, only three movements were accompaniment. The second, at the same tempo, has closely related performed, and badly, making its future uncertain. In 1868, Brahms con- subjects but a different mood from the first movement. The third move- ducted the work in the Bremen Cathedral with great success. Shortly af- ment, a dance, Allegro giocoso, begins joyously but contains a slow- terward, he inserted the music you will hear tonight, the fifth movement, a er, contrasting central section. The last movement begins with a slow, soprano aria with chorus. The first complete public performance occurred solemn, introspective Adagio that later returns after the rhythmic Allegro February 18, 1869, in Leipzig, deciso. When the tempo slows, the flute has a short cadenza. Fragments of the themes from the earlier Moderato reappear as the When he finished the Requiem, Brahms told his friends, “Now Iam music moves to a peaceful, gentle ending. consoled. I have surmounted obstacles that I thought I could never overcome, and I feel like an eagle, soaring ever higher and higher.” This idea of consolation distinguished Brahms’s Biblical Requiem text from the Overture to the Tragedy, Egmont, Op. 84 Latin Mass for the Dead. Brahms’s subject is the comfort of the living Ludwig van Beethoven through resignation to God’s will, not a prayer for the peace and rest of (Born December 16, 1770, in Bonn, Germany; died March 26, 1827, the soul of the dead. in Vienna, Austria) The historical Count Egmont (1522‑1568), a Flemish statesman Overall, Brahms’s Requiem, a series of Biblical songs, stretches to and soldier, faithfully served King Philip II of Spain until Philip annexed more than symphonic length. The emotionally charged “Ihr habt nun the North European Lowlands and placed them under the harshly Traurigkeit” is Langsam (“Slow”) and soft throughout. tyrannical rule of the Duke of Alba. Egmont’s leadership of a resistance movement brought him to trial for high treason, and eventually, a sentence of death. His martyrdom in the cause of freedom made him a popular Suite modale hero, a venerated figure whom Johann Wolfgang von Goethe (1749‑1832) Ernest Bloch memorialized in a play in 1788. (Born July 24, 1880, in Geneva, Switzerland; died July 15, 1959, in Portland, Oregon, USA) Although such political subjects were generally considered dangerous Bloch, Swiss by birth, began his career in Europe; after 1916, his ambi- in Beethoven’s Vienna, the Royal and Imperial Court Theater planned tions as a composer and conductor were thwarted, and he moved two new productions in 1809‑10 about the struggle of small European to the United States, where he became a widely performed compos- regions for freedom from occupation and foreign rule: Goethe’s Egmont er and influential teacher. Bloch’s best known works sprang from his and Friedrich von Schiller’s William Tell. The theater director approached Jewish heritage: Schelomo; the Hebrew Sacred Service, Avodath Hakodesh; two composers, Beethoven and the now forgotten Adalbert Gyrowetz, the and Three Pictures of Hassidic Life, Baal Shem. Court Theater’s staff composer and conductor, to write incidental music. Beethoven preferred William Tell, probably the better play, but Gyrowetz Bloch also composed abstract music without programmatic content. managed through court connections to procure that commission, leaving He completed Suite Modale for flute and string orchestra, one of his last Beethoven the more difficult Egmont. In later years, Beethoven claimed works, July 28, 1957, in Agate Beach, Oregon. He wrote it for Elaine to have chosen Egmont because of his admiration for Goethe, but even Schaffer Kurtz, a flutist he knew only from recordings: in them he heard if it was his second‑choice, he strongly related to the subject, the heroic a fresh, youthful musical sensibility. The suite is modal because its individual’s struggle for the greater good of others. He used this subject melodies reflect old church modes, which are, in effect, scales whose steps for his opera Fidelio and in his Eroica Symphony. do not follow contemporary major or minor scales.

14 15 The commission occurred in 1809; Beethoven worked on the music until mid-1810. As was usual then, he composed the Overture last although it was the first music heard. The music was not ready on opening night; it premiered at the fourth performance, with Beethoven . On April 12, 1811, Beethoven wrote to Goethe that he was sending the music to him, and desired Goethe’s opinion of it, “Your criticism could be helpful to me and my work, and would be as welcome as highest praise.” Goethe replied he had heard good reports about it and planned to use it in his own new production the following year. Later, Beethoven learned that his publisher had not dispatched the score, and angrily berated him for being “so discourteous to the finest German poet.” It is now widely known, however, that Goethe, did not have much of an ear or taste for music, anyhow.

In the closing section of the overture, Beethoven includes music from the theatrical “Victory Symphony” that symbolizes Egmont’s moral victory, even in death.

Programme notes for the Brahms, Bloch, and Beethoven are © 2009 Susan Halpern. in partnership with The Vision of the Dry Bones, Mount Sinai Cantata, and The Last Days to Come are provided courtesy of T. Hemdat Yamim publishing.

Note on Works Sung by Cantor Ani Ma’min (“I Believe”) Known as the Holocaust Hymn, this song, which asserts faith in God, was composed by Rabbi Azriel David Fastag while on the train to Treblinka. The words are based on the twelfth of Maimonides’ Thirteen Principles of Faith.

El Maleh Rachamim (“Merciful God”) This traditional Hebrew prayer asks God to grant perfect rest to the souls of the dead. It is recited at funerals and memorial ceremonies.

16 “We must continue to examine why the world failed to prevent the Holocaust and other atrocities since. That way, we will be better armed to defeat anti-Semitism and other forms of intolerance”.

United Nations Secretary-General Ban Ki-moon 27 January 2009