Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991

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Boston Symphony Orchestra Concert Programs, Season 110, 1990-1991

Ronan Lefkowitz Born in Oxford, England, Ronan Lefkowitz joined the Boston Sym- phony Orchestra in 1976. Mr. Lefkowitz is a graduate of Brookline High School and Harvard College. His most notable teachers included Gerald Gelbloom, Max Rostal, Luise Vosgerchian, Joseph Silverstein, and Szymon Goldberg. While in high school he was concertmaster of and a frequent soloist with the Greater Boston Youth Symphony Orchestra. He was also concertmaster of the Interna- tional Youth Symphony Orchestra under Leopold Stokowski. In 1972 Mr. Lefkowitz won the Gingold- Silverstein Prize at the Tan- glewood Music Center, where he is now a part-time faculty mem- ber. In 1984 he helped establish and endow the Gerald Gelbloom Fellowship for a student of violin at the Tanglewood Music Center. Also in 1984 he was featured on the PBS televi- sion program "Evening at Pops" as a soloist with three of his Boston Symphony colleagues in a performance of Vivaldi's Concerto for Four Violins. In 1986 Mr. Lefkowitz joined the contemporary music group Collage. The following summer he performed the American premiere of Witold Lutos/awski's Chain 2 for violin and chamber orchestra as part of the annual Festival of Contemporary Music at Tanglewood; as a result, he was invited to perform the piece on this week's Boston Symphony concerts under the composer's direction. Most recently, Mr. Lefkowitz has been involved with the Terezin Chamber Music Founda- tion, directed by BSO colleague Mark Ludwig, which seeks to find, perform, and record music written in the early 1940s by such composers as Gideon Klein, Hans Krasa, Viktor Ullmann, and Pavel Haas during their internment at the Theresienstadt concentration camp. Last month Mr. Lefkowitz recorded two compact discs of chamber music by Arthur Foote and Samuel Coleridge-Taylor for Koch International with Harold Wright, Virginia Eskin, and the Hawthorne String Quartet, of which he is first violinist, and which will tour Europe in January with Terezin Foundation repertoire. Mr. Lefkowitz has recently partici- pated in two concerts with Yo-Yo Ma: a benefit at Harvard last spring for Philips Brooks House, and a Tanglewood performance of the Ives Piano Trio with Gilbert Kalish this past summer. DREAMS AND SCHEMES Conducted by David Hoose collage November 12, 1990 new music Longy School of Music, Cambridge Jan Swafford They Who Hunger* Luciano Berio Sequenza for Solo Voice Andrew Imbrie Dream Sequence* Henri Lazarof Divertimento** 'Boston Premiere 'World Premiere Tickets: $10 general admission; $5 students & senior citizens. Available at Bostix/ Ticketron locations, Teletron (1-800-383-8080), or by calling 617-776-3166. YOU CAN WIN a music lesson with Ronan Lefkowitz, this week's BSO soloist (or any of 10 other fabulous prizes). You cant lose by supporting the collage new music benefit raffle. Call 776-3166, for tickets and information. 31.

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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.
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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
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(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.
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SELECTED WORKS for CELLO Molly Leigh Jones, Doctor of Mu
ABSTRACT Title of Dissertation: VOICES FROM THE HOLOCAUST, REMEMBERED: SELECTED WORKS FOR CELLO Molly Leigh Jones, Doctor of Musical Arts, 2018 Dissertation directed by: Dr. Eric Kutz, Assistant Professor of Cello, School of Music During the Holocaust, many prominent Jewish composers’ lives and careers were cut short in their prime. Their music was banned and they had to abandon their homes and emigrate in order to survive. Tragically, many were shipped off to concentration camps where they were murdered. These composers were stripped of all possible advantages. As a result, their music often fell into obscurity. I chose to explore the lives and works of six of these composers: Hans Gál, Hans Krása, Gideon Klein, Erwin Schulhoff, James Simon, and Alexander Zemlinsky. Through my dissertation, I hope to promote their compelling music and bring some measure of justice to the tragedy of lives and careers cut short by the Holocaust. VOICES FROM THE HOLOCAUST, REMEMBERED: SELECTED WORKS FOR CELLO by Molly Leigh Jones Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Doctorate of Musical Arts 2018 Advisory Committee: Dr. Eric Kutz, Chair Professor Leslie Felbain, Dean’s Representative Dr. James Fry Professor Robert DiLutis Professor Craig Kier Dr. Irina Muresanu © Copyright by Molly Leigh Jones 2018 Preface The initial spark of motivation for this project came while I was preparing for my University of Maryland lecture recital. I wanted to discuss and perform a piece that was not in the common repertoire.
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Musical Expressions in Times of Uncertainty
Musical Expressions in Times of Uncertainty: A Study Of Gideon Klein’s Songs Opus 1 (1940) A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music 2012 by Galit Gertsenzon Fromm B.A. Tel Aviv University, 2001 M.A. Tel Aviv University, 2003 Committee Chair: Steven J. Cahn, Ph.D Abstract An important set of works by Gideon Klein, the Three Songs Opus 1 (1940) is the subject of my DMA document. Klein, a Czech-Jewish pianist and composer, was twenty-five years old when he died in Fürstengrube camp, following an internment in the Terezín concentration camp. On the broad level, the compositions discussed in this document manifest a significant contribution to the musical canon of the twentieth-century repertoire. Yet, the choices of texts and musical expressions also suggest the possibility that these works respond to historical and personal events Klein experienced while composing them. The songs, set to texts by Goethe, Johann Klaj and Friedrich Hölderlin, portray a variety of scenes that involve few optimistic hints yet mainly they express melancholy, solitude, and uncertainty. Given the historical context of these compositions, the heart of my document focuses on the following question: How are the textual and musical expressions of melancholy and solitude in these songs are influenced by Klein’s own uncertainty and how do the manifold musical images of these songs coalesce in a historic testimony of this most horrific time? In exploring this question, I examined the musical score of the songs.
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Musique Et Camps De Concentration
Colloque « MusiqueColloque et « campsMusique de concentration »et camps de Conseilconcentration de l’Europe - 7 et 8 novembre » 2013 dans le cadre du programme « Transmission de la mémoire de l’Holocauste et prévention des crimes contre l’humanité » Conseil de l’Europe - 7 et 8 novembre 2013 Éditions du Forum Voix Etouffées en partenariat avec le Conseil de l’Europe 1 Musique et camps de concentration Éditeur : Amaury du Closel Co-éditeur : Conseil de l’Europe Contributeurs : Amaury du Closel Francesco Lotoro Dr. Milijana Pavlovic Dr. Katarzyna Naliwajek-Mazurek Ronald Leopoldi Dr. Suzanne Snizek Dr. Inna Klause Daniel Elphick Dr. David Fligg Dr. h.c. Philippe Olivier Lloica Czackis Dr. Edward Hafer Jory Debenham Dr. Katia Chornik Les vues exprimées dans cet ouvrage sont de la responsabilité des auteurs et ne reflètent pas nécessairement la ligne officielle du Conseil de l’Europe. 2 Sommaire Amaury du Closel : Introduction 4 Francesco Lotoro : Searching for Lost Music 6 Dr Milijana Pavlovic : Alma Rosé and the Lagerkapelle Auschwitz 22 Dr Katarzyna Naliwajek–Mazurek : Music within the Nazi Genocide System in Occupied Poland: Facts and Testimonies 38 Ronald Leopoldi : Hermann Leopoldi et l’Hymne de Buchenwald 49 Dr Suzanne Snizek : Interned musicians 53 Dr Inna Klause : Musicocultural Behaviour of Gulag prisoners from the 1920s to 1950s 74 Daniel Elphick : Mieczyslaw Weinberg: Lines that have escaped destruction 97 Dr David Fligg : Positioning Gideon Klein 114 Dr. h.c. Philippe Olivier : La vie musicale dans le Ghetto de Vilne : un essai
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Ghetto and Concentration Camp Poetry. Doctor of Philosophy, City University of New York
LIST OF SOURCES AARON, F.W. 1985. Poetry in the Holocaust: Ghetto and Concentration Camp Poetry. Doctor of Philosophy, City University of New York. AARON, F.W. 1990. Bearing the Unbearable: Yiddish and Polish Poetry in the Ghettos and Concentration Camps. Albany: State University of New York Press. ADELSON, A. & LAPIDES, R. 1989. Lodz Ghetto: Inside a community under siege. New York: Viking. AINSZTEIN, R. 1974. Jewish Resistance in Nazi-occupied Europe: With a historical survey of the Jew as fighter and soldier in the Diaspora. London: Paul Elek. ALLISON, D. & ERDONMEZ, D. 1985. Proceedings of the Eleventh National Conference of the Australian Music Therapy Association Inc. Publication of the Australian Music Therapy Association. ARAD, Y. 1987. Belzec, Sobibor, Treblinka: The Operation Reinhard Death Camps. Bloomington: Indiana University Press. ARAD, Y., et al. 1981 . Documents on the Holocaust: Selected Sources on the Destruction of the Jews of Germany and Austria, Poland and the Soviet Union. Jerusalem: Yad Vashem. BERBEN, P. 1975. Dachau 1933-1945: The Official History. London: Norfolk Press. BERENSTEIN, T. & RUTKOWSKI, A. 1963. Assistance to the Jews in Poland. 1939-1945. Warsaw: Polonia Publishing House. BLACK BOOK. 1946. The Black Book: The Nazi Crime against the Jewish People. New York: Stratford Press. BLOCH, M. 1979. Viktor Ullmann: a brief biography and appreciation. Journal of the Arnold Schoenberg Institute. Volume 3, Number 2, pp. 150 - 177. BRAZG, H. 1981. Passport to Life. Memories and Dreams. Johannesburg: Kayor. BRIDGMAN, J. 1990. The End of the Holocaust: The liberation of the camps. London: B.T. Batsford. BUDD, M. 1985. Music and the Emotions: The Philosophical Theories.
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PIANO QUINTET for String Quartet and Piano (2007 - 27')
Commissioned by John Boyce for Simone Dinnerstein and the Hawthorne String Quartet PIANO QUINTET for string quartet and piano (2007 - 27') I. For Gideon Klein David L. POST (*1949) accel. Moderato assai (q = 88) > - > > > #>œ nœ- - > > > #œ nœ - œ œb œb Violin I 4 œ bœ ˙ œ J œb œ #˙ œ œ œ œ œb œ & 4 ÓŒ ≈ œ œ J J ÓŒ ≈ œ œ ≈ œ œ œ œ œ# œ f con forza > Violin II 4 j j #œ nœ- & 4 ÓŒ ≈ #œ nœ ÓŒ ≈ J œ #˙ ≈ œ# œ œb œ œn œ œ# œ# œn œn œ œ >œ > - b-œ ˙ œ œ >œ œb - œ œ œ œ œ f> con> forza > > > > > > j > > > > œ- j œ œ Viola B 4 ÓŒ ≈ œ œ œ #œ- œ ˙ ÓŒ ≈ œ œ œ bœ ˙- ≈ œ œ œ œ œ œ œ œ œ œ œb œ 4 œ J - œ J œ f con forza > - - >œ > B > > >œ œ œ œ ˙ > > >œ bœ- œ ˙- œ œ# œ œb Violoncello ? 4 ÓŒ ≈ œ œ J J ÓŒ ≈ œ œ J J ≈ œ œ œn œ œ con forza f +41 (0)21 909 1000 (Phone) - 1009 (Fax) accel. Switzerland Editions Bim, CH-1674 Vuarmarens, Moderato assai (q = 88) ? 4 w> w w> w w> Piano sf www.editions-bim.com ? 4 w w w w w { w> w w> w w> 6 q = 100 œ œ# œn œb j j j j j j & ≈ œn œb œn œ œ œ# œ œb œ œ œ bœ œ œ œ œ œ nœ ˙ œ# œ > - > - > ≈ j j j j j j & œ œ œ œb œn œ œ œ œ bœ œ œ œ œ œ œn œ œ ˙ œ œb œn œ# œb œn > - > - > œ œ œ œn œ j j j j j j B ≈ œ œb œ# œ œ œ œ œ bœ -œ œ œ -œ œ œb œ nœ ˙ œ œ# > > > B œ œ# œ œb j > œ- j j ≈ œ œb œb œ œ œ œ bœ œ œ œ œ œ ˙ > - J J J > q = 100 œ# œn œ# œ œ œ œb œ œ œn œb œ ? œ œ œ œ# œn œ# œ œ# œ œb œ w & ‰ ‰ œb ≈ ≈ œ <b>œ > f œ# œn œ# ? ‰ œ œ œb œ ‰ ≈ œb œ ≈ & œ œ œ œ œ# œn œ œ# œ œn œ# œ œb œ w œb œ<b>œ { w> BIM MCX78 © 2010 World copyright by Editions Bim (Jean-Pierre Mathez), CH-1670 Vuarmarens, Switzerland 3 TOUS DROITS RÉSERVÉS - ALLE RECHTE VORBEHALTEN - ALL RIGHTS RESERVED www.editions-bim.com 9 & ∑ ∑ ∑ & ∑ ∑ ∑ B ∑ ∑ ∑ B ∑ ∑ ∑ >œ - - œ œ œ- - œ > œ# bœ œ œ œ œ œ œb œ œ bœ œ œ- œ #œ n>œ œb j œ œn bœ œ œ œ œ œ œ bœ œb œ œ œ œ œ & œ b œ b œ œ J J J J J J œJb œ nœ œ - j - -j j - j j j j #œ nœ œ bœ œ œ b>œ bœ œ œ œ.
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Music in the Holocaust
Music in the Holocaust by Joshua Jacobson tht) /' 5, I. , Cover page of '~l Sefod" by Pavel Haas (Translation: '~S01lveni1' ofo1lrfirst and last anniversary in Terezin 'j I consider it a very strange phenomenon that under these heir to humanity, however, the Nazis would have to demon horrible circumstances were created such magnificent works. strate that all other races were inferior. Any human activity that . It's amazing that people are able to create such beauty was not Aryan had to be proven degenerate . while surrounded by such atrocities. I In the 1920s, Germany was licking its wounds. The Reich Elislea Kleinova, sltl7Jivor ofthe Terezfn concentration camp suffered an ignominious defeat in the First World War. After a European reaction against German Romanticism in the arts, For Jews trapped in Europe during the Nazi Holocaust, Paris replaced Berlin and Vienna as the musical and artistic music was a means of expressing pain and anguish, of sustain capital of the world. In the eyes of Germany, this situation had ing hope, and of maintaining their humanity. For some, after to be rectified; the German people demanded a restoration to the war, music was the medium through which they could vent their former position of world hegemony. their feelings of horror, outrage, grief, and mourning. The Nazis waged political and cultural war not only against This article explores some of the musical phenomena that their neighbors in Europe but also against foreign elements arose out of the experience of the Holocaust. The creators of within the countty that had "perverted" the pure German most of these poems and songs were murdered by the Nazis culture.
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Out of the Shadows Rediscovering Jewish Music and Theatre
Performing the Jewish Archive Out of the Shadows Rediscovering Jewish music and theatre FESTIVAL PROGRAMME Leeds & York - June 2016 Performing the Jewish Archive CONTENTS 03. Welcome 04. Gideon Klein: Portrait of a Composer Wednesday 1 June, 7:30pm - Holy Trinity Church, Leeds 06. Harlequin in the Ghetto Thursday 2 June - Sunday 5 June, 7:30pm - The Black Box, Department of Theatre, Film and Television, University of York 08. Make Once More My Heart Thy Home: The Choral Music of Hans Gál Sunday 5 June, 3:00pm - Clothworkers Centenary Concert Hall, University of Leeds Friday 10 June, 7:30pm - National Centre for Early Music, York 11. The Nash Ensemble: Music in the Terezín Ghetto Wednesday 8 June, 7:15pm - Howard Assembly Room, Leeds 14. Mother Rachel and her Children: A Rediscovered Oratorio Thursday 9 June, 7:30pm - Left Bank Leeds 16. Fractured Lives: Music of the Holocaust Tuesday 14 June, 7:30pm - Holy Trinity Church, Leeds Wednesday 15 June, 1:00pm - All Saints Pavement, York 18. New Budapest Orpheum Society Thursday 16 June, 7:30pm - National Centre for Early Music, York Saturday 18 June, 7:30pm - Clothworkers Centenary Concert Hall, University of Leeds 22. Fate and Fairytales: The Music of Wilhelm Grosz and Zikmund Schul Friday 17 June, 1:05pm - Clothworkers Centenary Concert Hall, University of Leeds 26. Die Weise Von Liebe und Tod Des Cornets Christoph Rilke Friday 17 June, 6:00pm - Holy Trinity Church, Leeds 27. Looking Forward Through the Past: New Operas from the Jewish Archive Thursday 23 June, 8:00pm - Clothworkers Centenary Concert Hall, University of Leeds 29.
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