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The Second in Citymusicʼs Series of Three Chamber Music Concerts Leading up to Our May Production of Brundibar, the Anti-Nazi Childrenʼs Opera

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The Second in Citymusicʼs Series of Three Chamber Music Concerts Leading up to Our May Production of Brundibar, the Anti-Nazi Childrenʼs Opera The Composers of Theresienstadt, Maltz Museum of Jewish Heritage, April 11, 2012 Welcome to the second in CityMusicʼs series of three chamber music concerts leading up to our May production of Brundibar, the anti-Nazi childrenʼs opera. Our Persistence of Creativity series seeks to contextualize the opera by presenting the music of composers impacted by oppression, war and genocide, and by telling their stories. I would like to remind you of the two remaining Persistence of Creativity events: this Saturday at 2 PM, our final chamber music concert, The Persecuted, presenting music relating to wars and genocide around the world, will be performed downtown at the Cleveland Public Library; and next Tuesday, April 17, from 4-7:30, Facing History and Ourselves will present a workshop titled Teaching the Holocaust Through Literature at John Carroll University. Both events are free. The second of our three chamber music concerts, which you will hear tonight, focuses on the extraordinary musical culture of Theresienstadt, one of the Nazi concentration camps. Although the story is tragic, the courage and humanity of these musicians is inspiring. Those who experience the worst often see most deeply, and the music you will hear tonight is a gift, their lasting legacy. As in all of the concerts in this series, we are performing movements rather than complete works so that you may hear a greater number of composers. Theresienstadt, also known as Terezin, was a Czech garrison town that the Nazis used as a military base when they occupied the remainder of Czechoslovakia in 1939, violating the terms of the disastrous Munich Agreement of 1938. The first concentration camp, Dachau, was established near Munich in 1933. By the time the SS converted Terezin into a transport center where Czech Jews could be gathered on their way to labor camps and killing centers farther east, they had fine-tuned their planning and manipulation of the camps. With baldly cynical, cold calculation, the Nazi leadership determined that Terezin would be a propaganda tool. It would be known as a retirement settlement for the elderly - in fact, a “spa town.” It would hold certain categories of Jews - those whose fate might be particularly questioned by the rest of the world - and thereby anticipate and neutralize protests on their behalf.1 In 2012, we of course know all too well what the concentration camps were. In 1941, however, the Third Reich was still rather successfully telling its own citizens, and the rest of the world, that the Jews were merely being gathered in labor camps. The elderly could not plausibly be put to labor, nor could disabled WW I veterans, so they were sent instead to Terezin, where they could “safely retire.” Soon another category was added to this list. Prominent Jews, particularly those with cultural, artistic and intellectual backgrounds, those whose disappearance could attract national or even international 1 United States Holocaust Memorial Museum. “Theresienstadt: Establishment.” Holocaust Encyclopedia. http://www.ushmm.org/wlc/en/?ModuleId=10007506. Accessed on 2/25/2012. Rebecca S. Mayhew. Copyright 2012 CityMusic Cleveland. The Composers of Theresienstadt, Maltz Museum of Jewish Heritage, April 11, 2012 attention, were also sent to the “spa town” of Terezin.2 Of the 140,000 prisoners who were sent to Terezin, only 10% survived.3 Terezinʼs cultural life, particularly its music, was extraordinary. Terezin was not entirely unique; almost all the concentration camps had official orchestras and other musical groups. Even death camps like Auschwitz and Treblinka had orchestras where the musiciansʼ job was often, chillingly, to play as the other prisoners marched to the gas chambers. But Terezin was special in its large mass of very accomplished artists and intellectuals. Lectures, plays, art, literature, poetry, concerts, schools, a large library, a cabaret and a jazz club were all part of daily life in Terezin, and all were of incredible quality. The highly sophisticated Kabarett culture of Berlin and Prague came to Terezin in the Karussell Kabaret led by Kurt Gerron, who in 1930 had starred opposite Marlene Deitrich in The Blue Angel. One Terezin survivor hired by scholars to decipher the veiled references, double meanings and insider jokes embedded in the songs had to stop working because she was laughing so hard that tears ran down her face.4 In the forbidden schools of Terezin, teenagers were taught science by some of the most prominent physicists and chemists of the day. Children received art instruction from well-known painters and illustrators. Hundreds of lectures were delivered on every subject imaginable - more than one per day for the life of the camp.5 And the music! Art music had been a dominant force in European cultural life for centuries, and it remained so in Terezin. At first there were just a few musicians practicing in secret, as it was forbidden for Jews to own anything of value. When their activities were discovered by the SS, the Head of the Council of Jewish Elders was able to rescue them from punishment. He suggested that the Nazis should instead use music in Terezin as a way to show the world how well they were treating the Jews. The camp Commander, seeing a chance to earn recognition from his superiors, agreed, and this was how music came to be part of Terezinʼs propaganda.6 Soon there were orchestras, choruses, chamber groups and composers, and they persisted in performing and writing music. Some music was made openly, some underground, but it was constant. 2 United States Holocaust Memorial Museum. “Theresienstadt: Establishment.” Holocaust Encyclopedia. http://www.ushmm.org/wlc/en/?ModuleId=10007506. Accessed on 2/25/2012. 3 United States Holocaust Memorial Museum. “Theresienstadt.” http://www.ushmm.org/wlc/en/ article.php?ModuleId=10005424. Accessed on 2/21/2012. 4 Lisa Peschel. “Translating Laughter: A Cabaret from the Terezín Ghetto.” April 6, 2011. HowlRound Blog. www.howlround.com, Accessed on 3/1/2012. 5 United States Holocaust Memorial Museum. “Theresienstadt: Cultural Life.” Holocaust Encyclopedia. http://www.ushmm.org/wlc/en/?ModuleId=10007461. Accessed on 2/28/2012. 6 Edgar Krasa, Theresienstadt survivor. Interviews and correspondence, Rebecca Mayhew, 2012 Rebecca S. Mayhew. Copyright 2012 CityMusic Cleveland. The Composers of Theresienstadt, Maltz Museum of Jewish Heritage, April 11, 2012 The childrenʼs opera Brundibar was publicly performed fifty-five times; new casts had to be trained repeatedly as the child performers were transported to Auschwitz. The heroic conductor Rafael Schachter, one of the pioneers of Terezinʼs musical life, began by secretly teaching The Bartered Bride to a chorus of prisoners; it was performed thirty-five times. Soon he moved on to The Kiss, then to The Magic Flute and The Marriage of Figaro. In his most important and defiant work in Terezin, Schachter taught chorus after chorus the Verdi Requiem, as chorus after chorus was gutted by deportations.7 But Schachter was not the only one organizing rehearsals and performances. Operas, oratorios, recitals and chamber music concerts could be found everywhere. The Nazis didnʼt originally mean for culture to thrive at Terezin, but thrive it did, and Nazi officials alternately tried to suppress it or exploit it, depending on their current needs and mood. Terezinʼs success as a Nazi propaganda tool was sadly proven in June of 1944 when the Red Cross visited and gave the camp an innocuously good report. Terezin had a population of about 8,000 before the war, but held as many as 55,000 prisoners at once while it was a concentration camp. Overcrowding led to disease, infestation, deplorably unsanitary conditions, and starvation. The Nazis prepared the camp for the Red Cross visit with a beautification program that included painting, planting of gardens and flowers, and the construction of a fake main street, complete with shops, bakeries, and even a bank. Overcrowding was eased by transporting over 7,500 prisoners to Auschwitz.8 A new community hall was used for cultural programs, including a performance of Brundibar that was presented to the two Red Cross delegates and a number of important SS officials. Rafael Schachter was also ordered to lead his chorus in a final performance of the Verdi Requiem, famously telling his singers, “We sing what we can not say” - meaning that they would be delivering the message of final judgment - Dies Irae - to the Nazis directly. It was the highest point of his musical life in Terezin, and the chance he had been waiting for. We can only imagine the emotional impact of the performance.9 After the Red Cross visit was over, the Nazis made further use of their investment in Terezin by producing a propaganda film, forcing the prisoners to work as writers, actors, set designers, editors and composers. Kurt Gerron was persuaded to serve as director. Commonly known by the title, “The Fuhrer Gives the Jews a Town,” the film shows prisoners enjoying gardening, chess games, concerts and all manner of outdoor recreation in the sunny, beautiful Czech countryside. It was never shown publicly, and only parts of it survived the war. Ironically, it was a time of relative peace and security in Terezin. The transports that had been a constant source of terrible anxiety ceased, and 7 Edgar Krasa, Theresienstadt survivor. Interviews and correspondence, Rebecca Mayhew, 2012 8 United States Holocaust Memorial Museum. “Theresienstadt: Red Cross Visit.” Holocaust Encyclopedia. http://www.ushmm.org/wlc/en/?ModuleId=10007463. Accessed on 3/8/2012. 9 Edgar Krasa, Theresienstadt survivor. Interviews and correspondence, Rebecca Mayhew, 2012 Rebecca S. Mayhew. Copyright 2012 CityMusic Cleveland. The Composers of Theresienstadt, Maltz Museum of Jewish Heritage, April 11, 2012 everyone had a little more food and some clothes. By the time the filming ended, even the prisoners suspected that the end of the war was near.
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