Music in the Holocaust

by Joshua Jacobson

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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. Early in the century, the Jewish-born German com­ and their collaborators, but their music lives on. poser Arnold Schoenberg had introduced dodecaphonic mod­ ernism into German music and, as a teacher in the conservatory, Nazi Policy toward Music was passing this "degenerate and unpopular" musical style to The Nazis had a utopian dream: they would start the hu­ the next generation. The Jewish composer Kurt Weill was man race over again. After purging humanity of all imperfect introducing the strains of "degenerate" Mrican-American jazz specimens, they would repopulate the world with a race of into German opera and operetta with such works as The Three supermen. It was the exclusive prerogative of the Nazi elite to Penny Opera. In October 1925 the following statement by define who was perfect and who was subhuman. The achieve­ respected musicologist Alfred Heuss appeared in the Berlin ments of the Atyan race in all spheres of human activity from magazine Zeitschrijt fiir Musik: warfare through music were seen as proof that it deserved to rule the world. If the Aryan race were to be the sole legitimate The appointment of Arnold Schonberg [sic] as director of one of the three masterclasses for composition at the Prussian Joshua Jacobson is Professor of Music, the Stotsky Professor of Academy of the Arts in Berlin strikes a blow against the Jewish Studies, and Director of Choral Activities at Northeastern cause of German music that is so provocative in nature it University, Boston, Massachusetts. He also is the founder and would be difficult to imagine anything worse in the present director of the Zamir Chorale of Boston, artists-in-residence at situation .... [This is] a contest of strength between Hebrew College's Jewish Music Institute, Brooldine, Massachusetts. Germandom and-and now we must also be quite frank-­ the specifically Jewish spirit in music. 2

DECEMBER 1995 PAGE 9 CHOIR Heuss was not voicing a new opinion. no person who had grown up in a Jewish un~JI1 MASTER Most Germans considered the Jews living environment would be capable of under­ 2.0 1iiIJfu among them to be a foreign element. Even standing the cultural heritage of Chris­ SOFTWARE after the emancipation at the end of the tian Europe. $185 Database software for eighteenth century, when civil rights were Upgrade $120 choral directors and (plus shipping & lax) librarians extended to the Jewish population for the The Jew talks the modern European first time, those who left the ghetto and languages merely as learned, and not MUSIC MASTER SOFTWARE attempted to participate in the cultural as mother tongues. This must 4 Grandview Avenue. Toronto, Ontario. Canada M4K 1J2 Tel (416) 465-8392 or (416) 816-4422 life of Germany were viewed with great necessarily prevent him from all Fax (416) 465-5107 suspicion. The composer Carl Friedrich capability of therein expressing him­ Zelter said about his pupil Felix Men­ self idiomatically, independently, delssohn, "He is, to be sure, a Jewboy and comfortably to his nature. Our (Judensohn) but no Jew. It would really whole European art and civilization be something rare if a Jewboy were to have remained to the Jew a foreign become a true artist."3 Mendelssohn was tongue. . . . [Synagogue music is] denied appointment as head of the Berlin the travesty of a divine service in Singakademie on the basis that "an orga­ music. . . . Who has not been nization dedicated to the singing of seized with a feeling of the greatest church music could hardly be presided revulsion or horror mingled with over by a Jew, even a converted one.,,4 absurdity at hearing that senseless Richard Wagner brought cultural in­ and irritating gurgle, yodel, and tolerance out into the open with the pub­ caclde which no caricature could lication of his article "Das Judentum in malce more repugnant?6 Music" in the Neue ZeitschriJt for Musik in September 1850.5 Wagner believed that The source of Wagner's anti-Semitism stemmed from the failure of his operas in Paris and the success of the less sophisti­ cated works of Meyerbeer, Halevy, and Offenbach. The operas of the Jewish com­ poser Meyerbeer were so successful that he You Don't Have to had become one of the wealthiest men in Europe. In Wagner's paranoid fantasy, Jews seemed to be dominating the middle­ class opera.., theater-, and concert-going Die to go to Heaven. public. Jews were conductors, determin­ ing what music would be programmed. If there's a heaven on earth for choral conductors, this is it: Jews were music critics, influencing public opinion through newspaper reviews. + Conduct our world-class choir, orchestra, and soloists in concert. Wagner complained that Jews were "in­ nately incapable" of presenting themselves Study the J. S. Bach Christmas Oratorio in depth. + as artists because of their appearance, • Immerse yourself in a community of dedicated artists. speech, and, particularly, their singing. Yet they had been able to affect public taste + Experience two weeks of virtuoso performers and concerts. significantly throughout the art world, especially in music.? + Be inspired by conductor and master teacher Helmuth Rilling, Wagner saw two possible solutions to acknowledged as one of the world's foremost Bach conductors. the problem:

[In view of the] influence over our Just Call800/4S7-1486. intellectual life which the Jews have acquired [which found expression OREGON BACH FESTIVAL in the] decay of our culture, [only Master Class in Choral/Orchestral Conducting two paths are open. One is the] Helmuth Rilling, Artistic Director total ejection of the destructive June 21-July 6, 1996 foreign element, [the other is the Eugene, Oregon assimilation of this element] in such a way that, in common with us,

PAGE 10 CHORAL JOURNAL Choral directors· & it shall ripen toward a higher radio programmers, distributors of sheet critics agree that Dr. Ebensberger's evolution of our nobler human music and records, and musicians plan­ ensemble coupled qualities. [I do not lmow whether ning repertoire for public concerts-any­ with the extraordi­ the first alternative is practicable,] one who had to conform to the ban on narily natural for this would require forces whose Jewish music. Wagner's essay of 1850 ~~;~~~~I~~~:=I"Q sound reprQduc~ presence are unlmown to me. 8 was brought up-to-date with Richard tion from EPR's Eichenauer's book Musik und Rasse (Mu­ newest .Gold.CD proVide an exciting listening experience. English c:horal Eighty years later Adolf Hider wrote, sic and Race,) II and Karl Blessinger's Men­ music Of the 19th & 20th centuries "I have the most intimate familiarity with delssohn, Meyerbeer und Mahler: Drei at it's best.. Available for $14.95 plus ship­ Wagner's mental processes. At every stage Kapitel des Judentums in der Musik (Three pingfr;'ni: .Encore Performance Recordings, 1613 of my life I come back to him."9 The Chapters ofJudaism in Music).12 Duke Ct., 'Plano,TX 75093, Ph/Fax 214-596-4433 Nazis carried out Wagner's theories in a way that had never been done before. Arnold Schoenberg and The state exercised total control over mu­ Jewish Identity sical composition and performance. Jo­ Arnold Schoenberg had renounced his seph Goebbels, as Minister for the People's Judaism in 1892 at the age of eighteen. Enlightenment and Propaganda, was de­ The young man found that he could find termined to eliminate alien influences on employment in conducting and teaching German music. Thus, Jews were purged more easily by converting to Protestant­ from their positions as music teachers, ism. In 1921 a disturbing incident gave performers, composers, and scholars. Schoenberg cause to reconsider his iden­ In 1933, Richard Strauss was named tity. When he took his family for a sum­ the first president of the National Minis­ mer vacation at the lakeside resort of try of Music, and Wilhelm Furtwangler Mattsee, he was turned away and in­ 6th Edition was named his deputy. The ministry in­ formed that the area was restricted to Ary­ Edited by Stanley Sadie troduced a succession of policies aimed at ans. Shortly thereafter he wrote: protecting Aryan culture from alien ac­ The New Grove, the world's finest culturation. All Jews still holding posi­ I have at last learned the lesson that music encyclopedia, is available for tions of influence within German musical has been forced upon me during this the first time in paperback! life were expelled from their posts. Their year, and I shall not ever forget it. It The 18,000 pages of this 2O-volume set performances were no longer heard on is that I am not a German, not even are filled with information on the his­ the radio, nor were their records available a European, but I am a Jew. 13 tory and development of music, mu­ in stores. The list of Jewish musicians sical forms, terms and definitions, in­ who fled the Nazi regime includes the In 1933, when the Berlin Academy of struments, musical cities, and, above following: Samuel Adler, Willi Apel, Paul Music announced its policy of purging all, thousands of composers and per­ Bekker, Victor Borge, Manfred BukofZer, all Jewish elements, Schoenberg resigned formers. No other music reference Alfred Einstein, Lukas Foss, Herbert his teaching position and left Germany source comes close to covering so Fromm, Karl Geiringer, Ernest Gold, Otto forever. On July 24, at a ceremony in a many subjects in so much detail. Klemperer, Erich Wolfgang Korngold, Paris synagogue, the composer officially Erich Leinsdorf, Lotte Lenya, Darius "re-entered into the Community of Is­ Paperback Grove is available for only Milhaud, Nathan Milstein, Bruno Netd, rael."14 Because of the persecution he $500! To order or to obtain more in­ Paul Netd, Gregor Piatigorsky, Max endured, Schoenberg came to feel him­ formation, call' us toll-free today! Rudolf, Curt Sachs, Artur Schnabel, self more and more a Jew. A good deal of Arnold Schoenberg, Rudolf Serlcin, Rob­ his prose writings (including The Path of ert Starer, William Steinberg, George the Bible, A Four-Point Program for Jewry, 800-221-2123 Szell, Mario Castelnuovo Tedesco, Ernst and Modern Psalms) and several impor­ Toch, Jennie Tourel, Bruno Walter, Kurt tant compositions (including Jacobs Lad­ Weill, and Stefan Wolpe. Music written der, Moses and Aaron, Kol Nidre, A Grove's Dictionaries Inc. by Jewish composers was banned. In Survivor from mtrsaw, Three Thousand 345 Park Avenue South, 10th fl. Frankfurt, Alfred Rosenberg set up a Years, and De profundis) focus on his New York, NY 10010-1707 Tel: 212-689-9200 (NY) pseudo-academic organization, Die religious identity. Ironically, it was Fax: 212-689-9711 Institut zur Erforschung der Judenfrage German anti-Semitism that inspired (Institute for the Investigation of the Jew­ Schoenberg to rediscover his Judaism and The New Grove and 01\\~ ish Question). Musicologists worlcing at express himself as a musical Jew. The New Grove ... ,,\ the institute were commissioned to pub­ As a result of Nazi policy, Europe be­ Dictionary.o/Music -.i. OVi ~\ IO and MUSICIans are \.~ IS...f'-..\j\} lish a Lexicon of Jews in Music. This came nearly Judenrein-emptied of its registered trademarks of ~• .,) became an invaluable reference work for Jewish population. An entire generation Grove's Dictionaries Inc.

DECEMBER 1995 PAGE 11 @I] {/ tempo p -'"" ~ -= .. ., v I I I .. I Yi - dl mil-n fi - dl May - she mil- n bas, shpil- zhe mir a Ii - dl, men of European Jewish (and some non-Jew­ " -== ish) composers, performers, and musicolo­ 1-«11 -<'--I Co" Q •• gists resettled in America, leaving Europe v " -.J ., -.J ...... '---" 1/' Yi - dl mi!-n fi - dl Moy- she mil- n bas, shpil- zhe mir a Ii - dl, culturally impoverished. Not all Jews were "" .. ~-= fortunate enough to be able to emigrate, I I I .. .. I however; many found themselves in the Yi - dl mil-n fi - dl May-she mil-n bas, shpil- zhe mir a Ii dl, hellish world of the concentration camps. " I I I ~ : .. r. I I I I .. I I I 77 •• I I Music in the Death Camps Yi - dl mil-n ~ dl May - she mit- n bas, shpil- zhe mir a Ii - dl, Martin Rosenberg was a Polish-born (--~I r----..I ~ Jewish conductor who, under the pseud­ onym Rosebery d'Arguto, conducted a 14 ~ I workers' chorus in Neukoln, a suburb of ~ I~j~ I~ I ~ p Berlin. In 1939 he was arrested and sent . to the nearby Sachsenhausen concentra­ '" .' '" jtoI" tion camp, where he was brutally tor­ tured. Shortly after recovering, Rosenberg "..I" -== ,.....,t:I =- -II organized and conducted a clandestine v chorus of twenty-five prisoners. When he firl undz in dem gas. discovered that he and his singers were to t:I =- be sent to the death camp at Auschwitz, " e--a-li v I Rosenberg composed a death-song for the men firl undz in dem gas. occasion. Based on an old Yiddish folk p -== ,.....,t:I 9 =- song, Tsen Brider (Ten Brothers) is a bal­ "" -I'-<>--tl v I I lad about brothers who are murdered, Illen firl undz in dem gas. one after another, in the death camp. 15 In p. n~n"---"':; =- j-&,l: its haunting refrain, the author ironically r. requests the ubiquitous klezmermusicians men fir! undz in dem gas. (Jewish instrumentalists in eastern Eu­ n------: n. n~ n. n ~..--....o.. - rope who entertained at weddings and "" : : e other joyous community events) to playa I I I I I j- totentanz (death dance) as he is led away I I I t:I !:,~ -1-1' I~ to the gas chamber (Figure 1). -a -& -& -& -& -& .... In 1942, Rosenberg and his chorus :,;I :,;I U U were deported from Sachsenhausen to Figure 1. Martin Rosenberg, Tsen B)·ide,. (arr. Joshua Jacobson) Auschwitz, where they all died in tlle gas "Yidle with your fiddle, Moshe with your bass, play me a little song; they're taking me to the gas!" chambers. Their song survived because of Used by permission of Transcontinental Music Publications the efforts ofAlexander Kulisiewicz, a Pol­ ish musician who was detained in Sachsen­ hausen. Rosenberg asked Kulisiewicz not to forget Tsen Brider, and, if he should survive, to sing the song and, through it, tell the world of the suffering in the death camps. Kulisiewicz kept his promise. Until his death in 1982, Kulisiewicz devoted his life to malcing the songs of the concentra­ tion camps known all over the world. 16 Herbert Zipper was born in Vienna in 1904. After studies with Europe's finest Seattle Holiday r iRIDS, musicians, including Richard Strauss and New from the world-renowned " . '0' Maurice Ravel, Zipper began his career as Seattle Girls' Choir, Jerome Wright, Condudor a conductor and composer in Germany Their first-ever solo recording. Inspired by their concerts aboard in the early 1930s. When he was deported the famed "Christmas Ship" in Seattle. to the Dachau concentration camp in (all 24 hours a day! 1938, he risked his life acquiring musical instruments and organizing, conducting, Collegium 1-800-367-9059 and composing for a chamber orchestra

PAGE 12 CHORAL JOURNAL that met secretly once a week in an aban­ tllan ninety enterprises wiili more ilian man in which the HaZamir chorus doned latrine. He composed a song, tlle seventy-five tllOusand workers. participated. 19 Dachau Lied, that became an under­ For ilie Jews of Lodz, even under such ground anthem of resistance in ilie camps. appalling conditions, life was unthinkable Zipper was among the more fortunate wiiliout music. Two musical events are de­ Music in the Vilna Ghetto prisoners; he survived the war, traveling scribed in entries from The Chronicle o/the Vilna, now called Vilnius, is the heart from Dachau to Buchenwald to Manila Lodz Ghetto, secret diaries that were found of the newly independent republic of and, finally, to America. 17 buried underground after tlle war: Lithuania. Before the 1940s, Vilna was a Several musicians have written about major center of spiritual and cultural life their experiences playing in one of the Today [March 1, 1941] the first for Eastern European Jewry. In the sum­ most macabre musical institutions that symp'honic concert conducted by mer of 1941, the German armed forces has ever existed, the Auschwitz death David Beyglman took place in the invaded Lithuania and immediately be­ camp orchestra. IS Many of ilie Jewish mu­ auditorium of the House of Culture gan the systematic extermination of the sicians sent to Auschwitz were forced to at 3 Krawiecka Street. The following Jewish population. Despite their impris­ play in this ensemble, which was com­ works were performed: Bela Keller's onment in the ghetto and the transports manded repeatedly to entertain ilie Ger­ Overture, Popa's Suite Orientale and to the death camps, Vilna's Jews declared, man and Polish camp guards. But the Shabes nokh !?tIgel, Beyglman's "Our bodies may be enslaved, but our primary raison d'etre of the Auschwitz Wiegenlied and Chor der Derwische, souls are not."20 Musicians, artists, writ­ orchestra was to distract the new arrivals the Overture from Massenet's ers, and poets formed the Literary Artis­ as they disembarked from the trains and Phaedre, Ayzenman's Jewish Medleys, tic Circle, which met nearly every week to boost morale and maintain order Side's Intelmezzo, Shalit's Der Yosem throughout the war for lectures, discus­ among the prisoner slaves as they marched and Ballet Orientale. Accompanied sions, and concerts. off to the forced-labor detail in the morn­ by the orchestra, Mrs. Ala Diamant Luba Levitska, the beloved "nightin­ ing. The performers were rewarded with, sang several soulful Yiddish songs. gale" of the Vilna ghetto, sang a concert relatively spealcing, better rations of food, March 13, 1941. A symphony for the Literary Artistic Circle on January more protective clothing, and more hu­ concert conducted by David Beygl- 18, 1942. A few weeks earlier, fifteen mane living conditions; they were tem­ porarily spared from the murderous work details and from the crematorium itself Music in the Lodz Ghetto As tlle Third Reich extended its reach beyond Germany's borders, it introduced oJ'~I r I the infamous Nuremberg racial laws into :l ~ J ~ l ilie occupied territories. In ilie fall of 1939, T~,~eaIlY help your program ""#r~f ,a~d ~otivate ilie Polish city of Lodz was incorporated into greater Germany. The Germans (~J your students, here's a great ~ that's changed ilie name of the city to Litzmann­ stadt (after a World War I German hero), righton~ ~ and German was proclaimed ilie official language. Anti-Jewish ordinances were in­ .Alft ~ ~ stituted, including ilie prohibition of reli­ ~, or T to a 1996 ~ North American gious ceremonies, the freezing of bank accounts, forced labor, the disbanding of Music Festival! You'll feel like a and your cultural and communal institutions, a * nightly curfew, confiscation of personal students will • you for it! property, and the requirement to wear the yellow Jude badge in public. By ilie spring of 1940, ilie Germans Just ~ us at 1-800-533-6263. We'll send you had fenced off a 1 Yz-square-mile portion our for free. of ilie city, declared it a ghetto, and moved all Jews and Romas (gypsies) into that area. Festival Locations: Virginia Beach, Myrtle Beach, The inmates were not allowed to leave, Toronto, Atlanta, New York City and Orlando, and Germans and Poles were not allowed (Or we can arrange a Custom Tourfor your group!) in. Lodz was turned into a slave labor camp ofworkshops and factories contributing to ilie German war effort; it contained more

DECEMBER. 1995 PAGE 13 thousand ofVilna's Jews had been hunted mass graves. An eyewitness to the concert open grave. Every word, every sound re­ down, loaded onto trucks, taken to the recalled that "the audience stood in sa­ called the victims at Ponar."21 nearby Ponar woods, shot, and buried in cred silence, as one stands in front of an One of the songs performed at the Literary Artistic Circle was a dark lullaby OJ Moving gently ,-I" P ,.., composed by Lea Rudnitska, a young Soprano : teacher and poetess who adopted a baby v ~ Iyu _ Iyu Iyu shlof main ta - yer_ left homeless after its parents were de­ " -= =- ported to the death camp. Soothing the Alto : child to sleep, Rudnitska wrote the lyrics oj . Drem - len fey - gl oyf di tsvai - gn, shlof pp for Dremlen Feygel (Birds Are Drowsing), Tenor : a song about the happiness that once sur­ Iyu _ Iyu _v rounded the cradle of the now motherless I~ - Iyu shlof -= and fatherless child. The song is one of : =- Bass : hundreds of Holocaust contrafacta:22 Drem - len fey - gl oyf di tsvai - gn, shlof songs created by fitting new words-re­ ii-----::e ~:----.o. ?------.... ?------flecting a new situation-to existing n------n- : popular melodies (Figure 2). p Piano ~~ > > pp .0.- - -p. p.- .0. .0.- r-€- €-- .0. : : Music in the Terezin Transit Camp =- =- In November 1941, shortly after invad­ ing Czechoslovalcia, the Nazis evacuated oj -...... - Terezln (or Theresienstadt, as it was called kind. Bai _ dujn vi - gl oyf duin nn - re zitst a f~ - de un " -== -= =- --=== in German) and transformed the ancient walled city into a huge transit camp. Terezln oj ~ Iyu Iyu Iyu Iyu _ Iyu Iyu Iyu Iyu provided a convenient holding pen for the : " -== -= =- --=== Jews of Bohemia and Moravia until they could be shipped to the East, where the Iyu Iyu r;-_ Iyu r;-_ Iyu Iyu Iyu death camps in Poland were running at : ;:::=:::==.. n. --=== -== ?=- ... full capacity. A year later the Germans de­

Iyu Iyu Iyu Iyu _ Iyu Iyu Iyu Iyu cided to use Terezln as a "model camp," a .t:::::' ~ :g: J J fa<;:ade to hide the truth of the extermina­ tion of European Jews. More than one hundred thousand Jews were sent to Terezln. The Nazis allowed the inmates, many of whom were promi­ tp tp tp nent writers, scholars, and musicians, to Iyu_ Iyu _ Iyu tp I I tp I I tp organize cultural activities and produce """ ------concerts. In 1942 the Nazis even orga­ v zingt. Iyu Iyu IY~ ~ nized the Freizeitgestaltung (administra­ =- P"""I " """'" tion of free-time activities), officially

~. v '--' ~ sanctioning such activities. There were Iyu Iyu Iyu Bai _ dain vi - gl oyf dain oa - re zitst a frem - de un zingt. =- tp tp tp choirs, chamber ensembles of all types, " orchestras, opera companies, a cabaret, Iyu Iyu Iyu Iyu Iyu Iyu and a jazz band called the "Ghetto Swing­ " 1'-;;=- tp tp tp ers [sic]." A 150-member choir performed : such works as Mendelssohn's Elijah and Iyu Iyu Iyu Iyu Iyu Iyu Verdi's Requiem (Figure 3). The prison­ 1 J j I I I ers' performances were featured in a Nazi " t t t ... propaganda film, Der Fahrer schenkt den 1 Juden eine Stadt (The Fiihrer Gives the j., ---:f!. ~ 1: 1 ~ 1: ~ 1: 1 ~ j : Jews a City),23 and inspectors from the International Red Cross were shown Figure 2. Lea Rudnitska and Leyb Yampolski, Dremlen Feygel (arr. Joshua Jacobson) flower gardens, schools, concerts, and cafes. But the truth was that of the "Birds are drowsing on their branches I Sleep my dear child I Near your cradle I 140,000 men, women, and children who Stands a stranger who sings I Lyu lyu lyu." were sent to Terezln between 1941 and Used by permission of Transcontinental Music Publications

PAGE 14 CHORAL JOURNAL 1945, only 11,000 survived. The rest either perished from malnutrition and disease in the ghetto or were sent to the death camps in Poland. Karel Berman and the Verdi Requiem at T erezfn Karel Berman was born in 1919 in Bohemia. At the age of twenty-two, he was deported to Terezln. "I had a terrible job," he reports. "They called it a 'gar­ bage collector,' but basically what I did was carry corpses [from the streets of the camp] to the crematorium for incinera­ tion."24 Soon Berman was transferred to more humane work; as a professional musician he was employed by the Freizeitgestaltung to conduct, compose, sing, and organize public concerts. In September 1943, Berman was the bass soloist in one of the most incredible concerts mounted in the camp: a perfor­ mance of Verdi's Requiem (Figure 4). In Figure 3. The Terezin choir performing Mendelssohn's Elijah a review in the Terezln press, composer Viktor Ullmann wrote, "Raphael Schaechter, to whom Terezln musical life is indebted for so many stimulations and artistic deeds, delivered a performance of a big-city standard."25 Through this work the inmates expressed their anxieties over an uncertain future. They sang of death defiantly before their executioners, of the hellish punishment in store for evildoers, and of the power of faith to liberate hu­ manity from its mortal fate. Rehearsals were held· in cramped quarters after long days of labor. Chorus parts were hand­ copied. The participants never knew from day to day if their fellow performers were still alive or if they had been sent to the death camps in the East. In an interview Berman described the process: Figure 4. Poster for the performance of the Verdi Requiem in Terezin We rehearsed in a very small base­ ment ... into which the entire Raphael Schaechter, and I were them, he knew what they could do, chorus was squeezed. Gideon Klein transported to Auschwitz. Now I am he could rely on them. . .. "You accompanied the rehearsals on a the only eyewitness alive who can tell must not think of parents and harmonium. . .. For the concert about what happened there.26 brother and lover, . .. remember we moved to a hall with a very nice the others, too, all those beaten and new piano .... The story of these One other survivor, however, Joseph Bor, tormented and massacred, they rehearsals and performances is unique wrote a partly documentary novel about the will unite for you into one great . . . in dle history of music. The preparation and performance of the Re­ mass, you will not even recognize production had three performances, quiem. He described the extraordinary mo­ individuals among them, and so and always after a performance half ment when the performance began: much the more clearly you will of the chorus was transported to be aware of the true face of the Auschwitz and was gassed. . .. After [Schaechterllooked at his choir and murderers. You must not show fear the third performance, Gideon Klein, soloists ... ; he knew every one of or wealrness before dlem. Today you

DECEMBER. 1995 PAGE 15 will be singing to the murderers, walls and secret dread. The silence Paul Kling, Violinist don't forget that." of quivering anticipation .... Paul Kling was born in Czechoslova­ He took up his baton. The Almost imperceptibly the baton kia in 1928. By the age of seven he had auditorium fell silent. A strange, moved. Almost inaudibly the first developed such a high level of musician­ a special silence, unusual in the notes of Verdi's Requiem stole ship and technique on the violin that he camp. Not the silence of bare thtough the hall.27 was invited to perform with the Vienna Symphony. He was acclaimed as one of the greatest prodigies of the century. OJ = rit. ===-, Then, in 1939, the Germans invaded Czechoslovakia. Within a year the Nazis extended the Nuremberg laws to their Ba - ehu-ri _ Ie - an ti - sa? eha - mu-dah kvar pa - sa. ===- , rit.===­ , newly conquered land. Kling, along with many others of his race, was forbidden S2 '-' to continue his schooling or perform in Ie - an ti - sa? eha - mu - dah _ kvar _ pa - sa. __ public. His violin was confiscated. Even p :::>-, rit. -= ===- , so, he would, on occasion, risk his life by practicing on a friend's violin and per­ A~.~~~~~~~~~t.../ Ba-ehu-ri Ie - an ti-sa? an ti-sa?_ eha- mu-dah_ kvar pa- sa. forming at clandestine concerts in pri­ vate apartments. leggiero piu mosso p ==-,pp rit.=-, In 1942, at the age of fourteen, Kling was sent to the Terezln transit camp, where, ironically, his fortune began to change for la. la la la la la la la la la la la. the better. At first the Germans tolerated ==-,pp his music-malcing, then they encouraged it, and finally they demanded it. ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ When asked in an interview how pp : ==- rit.=-, people could perform and compose even in the depths of hell, Kling responded ~ ~ la la la la la la la la Ba - ehu - ri _ Ie - an __ ti-sa?_ la that there were basically three attitudes among the inmates. The naive prisoners Figure 5. Gideon Klein, Bachuri, Le'an Tisa were oblivious to their surroundings and "'My boy, where are you going?' 'Sweetheart, it's allover.'" did not absorb the full impact of their Used by permission of Elislcl Kleinova situation. They saw no reason to change their lifestyles; if they had practiced six hours a day before the war, they would continue to practice six hours a day in the camp. The optimists believed that the war TRANSCONTINENTAL MUSIC PUBLICATIONS would be over soon and that the civilized world would not allow the atrocities to New Jewish Music Press continue. They would continue to prac­ tice in anticipation of their imminent lib­ Yom somce of Jewish Ethnic Choral Music eration. Then there were the pessimists for Holocaust/Kristallnacht Commemorations, who said, "We will soon be murdered; Chanukah and all yom why not malce the best of our lives while Multi-cultural Progranulling needs. we can?" Thus the pessimists also contin­ ued to perform.28 Sacred and Secular works in .. Hebrew-. Yiddish - Ladino (Sephardic) - English. Gideon Klein, Pianist/Composer At the age of twenty, Gideon Klein was considered one of the most promising young composers and pianists of his gen­ eration. Shortly after his graduation from . .. TR.i\NSCONTINE\NTAL MUSIC PUBLI~ATION~ the Prague Conservatory in 1939, how­ ...... NewJewishMusic Press . ... 838 Fifth Avenue, New York, NY 10021-7064 ~. ever, the Nuremberg laws were enacted in $. ·212-650-4101. FAX 212-650-4109 .'0/ the Nazi protectorates of Bohemia and Moravia. Jews were forced to wear the yellow Jude badge and were no longer

PAGE 16 CHORAL JOURNAL II] Andante :mf -''' p " If_ .,.' SI I~ 0) Smr - ti, le po- t~ - ~e- nf me mi o-de~-Io allowed to attend concerts or perform in p semprep public. Music by Jewish composers was S2 " totally banned from radio and concert halls. oJ Smr-li, ze po - l~ - ~e - nf me mi o - de~ - 10 Gideon Klein performed several times P under the pseudonym Karel Vranek, but A " that became too dangerous. Clandestine oJ Smr - ti, ze po -".Ie - ~~e - nf me mi o - de~ - 10 : concerts were then held in private apart­ p r:--3------:,= " ~ ments. At one memorable soiree at the T home of the Blass family, Klein performed .; -p 1'-p r Ii, ze the Brahms Concerto in B~ Major. The Smr - po - Ie - 'Se nf me mi o - de~ - 10 p ==- program ran so late that the guests, un­ t.. : h_. ,-{~ able to risk violating the curfew, were B r forced to spend the night. '"' Smr - ti, ze po -le-~e nf me mi o - de~ - 10 In December 1941, Klein was deported marc . to Terezfn. Although initially assigned to .-'" the Aufbaukommando, whose task it was 0) jen Ty ma~ vi nu to build barracks for the growing number pp of Jewish prisoners, he soon became in­ 0) volved in the musical activities of the camp. jen Ty ma~ ~i ~u jen Ty ma~ pp One of the many works that Klein com­ " posed for the Terezfn choirs was a minia­ oJ .... Ir!'" ~, .".' ture for women's voices called BaclJttl'i, jen ~y :~ vi nu Jen Ty Iluis ~{------:, pp Lean Tisa (My Boy, Where Are You Go­ " t.. -.J -- ing?), written on December 3, 1942 (Fig­ smr - ti, le po - t~ - ~e - ~f me mi 0 - de~ - 10 jen Ty ma~ ure 5). A sketch of the score has been pp I.. preserved. The poignant Hebrew text, in­ ~.---- dicating the uncertain future faced by the I' '" smr - ti, le po - t~ - ~e nf me mi ;;-:--I~ jen ~y ma~ young men and women in Terezfn, is un­ derscored by the tragedy of Klein's own -"" ,----3---, 0.-3-, death at the age of twenty-five in January oJ 1945 in the Furstengrube concentration ne - mas do. ti na tOIll ~i - nu? ,----3---, ,----3--, l leggel~Wllfe camp. The lyrics convey a tragic ambigu­ " ity: '''My boy, where are you going?' 'Sweet­ oJ p -I' T heart, it's allover.'" Is this merely the vi - nu nc- ma~ dOS-Ii nu tOI11 ~I - nu? leggermellle frivolous dialogue of two teenagers ending " r-3 ---, t.. a relationship, or is it the final farewell of a oJ If*~ .~- vi - nu a _ ne-mas dos-tl on t:~ ~i - nu, r nc-mu* dos-ti na tOI11 ~i - nu? lover leaving for the death camp? r:--3--, While Bachuri, Lean Tisa is one of " loJ Klein's simplest choral compositions, his vi - nu madrigals represent the opposite end of ,--3--, the spectrum. In April 1942 he set a poem I' l' -I' r by Francis Villon in Czech translation. In "" Vvi - nu nC-ll1l.lS dos-ti na tom ~i - l1u? Cheer. the lyrics the poet mourns the death of a young girl and asks to end his own life. Figure 6. Gideon Klein, Madrigal (Smrti, ze poteseni me me odeslo) The difficulty of this piece attests not only (0 Death, All My Pleasures Have Fled from Me) to the musicianship of the composer but © 1993 Bote & Bock Used by permission of the publisher. Sole Representative U.S.A. Theodore Presser Company also to the talent of the performers and the sophistication of the audience (Figure 6). In 1941, Haas was deported to Terezfn. reclaiming the land ofIsrael. On the cover is On November 30, 1942, he composed a touching inscription in Hebrew, its letters Pavel Haas, Composer Al Sefod (Do Not Mourn), a choral work Pavel Haas was born in Brno, Moravia, for male voices, which he dedicated to Otto in 1899. At the age of twenty-one, he began Zucker, Deputy Chairman of the Terezfn Music for the small church choir Council, a prisoners' group. The work's op­ studying with Leos Janacek, from whom he ~ We SP;~~ize in learned an enthusiasm for folIc songs, par­ timistic text, a new poem by the Palestinian ticularly those of the independent Czecho­ Jew Yaacov Shimoni, is a vigorous exhorta­ ( Covenant House slovalc Republic, newly liberated from the tion to the people to free themselves from 108 E. South St., Lamoni, la., 50140 hegemony of the Austro-Hungarian empire. the lethargy of Diaspora by working and Phone: (515) 784-6836

DECEMBER. 1995 PAGE 17 It must be emphasized that T erezin has served to enhance, not to impede, my musical activities, that by no means did we sit weeping on the banks of the waters of Babylon, and that our endeavor with respect to Art was commensurate with our will to live. 3D

The message of the Holocaust musi­ \ at diP t'hl('Ci; l' lJ 'U; : cians speal($ to us today and warns us to be - '~ vigilant against xenophobic hatred and begs us never to lose our compassion. By reviv­ ing their compositions, we can keep that message alive, affirming our commitment to music as a vehicle for human harmony.

NOTES ,(/utor 1 Eliska Kleinova, interview with the author, Prague, October 13, 1993. 2 Alfred Heuss, "Arnold Schonberg-Prussian Teacher of Composition," ZeitschriJt for Figure 7. Pavel Haas, Al Sefod, cover Musik (October 1925), 583-85, quoted in Alexander Ringer, Arnold Schoenberg: The Composer as Jew (Oxford: Oxford IT] Tempo di marcia rna poco maestoso University Press, 1990),224. ,.IlIoIf mf 3 Franz Kobler, Juden und Judentum in T1r~~~~~~~~~~~~~~n~~~ deutschen Briefin aus drei Jahrhunderten ~ ~I se - fad, al be - chat, be - eit ka-~e-;;;t ka - zot, (Vienna, 1935),259, quoted in Jacob Katz, /I" mf I.. T2 The Darker Side o/Genius: Richard Wagners ,; Anti-Semitism (Hanover, NH: University Al se - fad, al be - chat, be - cit :a-lOt, be-eit ka - zot, mf Press of New England, 1986), 14. Bl 4 Ezra Mendelssohn, Modern Jews and Their Al se-fod, al be-chat, _ al be-chat, be - eit ka-zot,-- be-eit ka - zot, Musical Agendas (New York: Oxford "!f..-.:l __ University Press, 1993), 11. B2~~~~~~~~~~~iI~~~m~~§ 5 Originally written under the pseudonym " 10..=1 r r '"-=I Al se-fad, __ al se-fod, al be-chat, _ al be-chat, be - eit ka-zot, be-eit ka - zot, be-eit ka-zot, Karl Freigedank, the article was published under his own name in an expanded Figure 8. Pavel Haas, Al Sefod version in 1869. "Do not mourn, do not cry at a time like this." 6 Albert Goldman, ed., Wagner on Music Drama © 1994 Bote & Bock. Used by permission of the publisher. Sale Representative U.S.A. Theodore Presser Company (New York: Dutton, 1964),51,55. 7 Goldman, 52. 8 Richard Wagner, DasJudentum in del' Musik created from the shapes of musical notes. It for which words alone were an inadequate (Leipzig, 1869),57, quoted in Katz, 69. reads (in translation), "a souvenir of the first vehicle. On the other hand, music was the 9 H. Rauschning, Gesprache mit Hitler (1939), and last anniversary of our exile in Terezln" means by which the dehumanized could 2d ed. (Vienna, 1973), 216 f., quoted in (Figure 7). Unfortunately 1942 was not to maintain their humanity, the link that Paul Lawrence Rose, Wagner: Race and be the last year of the Terezln exile. Today allowed the condemned to cling to life. Revolution (New Haven: Yale University we are inspired by the undying faith of This is music that is optimistic and life­ Press, 1992), 182. the men and women who, in the face of affirming. As Terezln survivor Greta 10 Theo Stengel, ed., Lexikon del' Juden in del' their own impending destruction, held Hofmeister stated so powerfully, "Music! Musik (Berlin: Bernhard Hahnefeld on to the spirit of optimism represented Music was life!"29 Verlag, 1940). in Haas's piece (Figure 8). Viktor Ullmann wrote of his experiences 11 Richard Eichenauer, Musik und Rasse creating music in a Nazi camp that he could (Munich, 1932). Music Was Life no more give up music than he could give 12 Karl Blessinger, Mendelssohn, Meyerbeer und Music in the Holocaust served a dual up breathing, that music was the only re­ Mahler: Drei Kapitel des Judentums in der purpose. On the one hand, the songs ex­ maining means by which he could make Musik (Berlin, 1939). pressed the anguish of the situation-agony some sense of a world gone mad. 13 Letter from Arnold Schoenberg to Wassily

PAGE 18 CHORAL JOURNAL Julius Herford Prize~ Call for Nominations HE SUBCOMMITTEE for rhe Julius Herford Prize, given annually by the American Cho­ T ral Directors Association, is now accepting nominations for the outstanding doctoral termi­ Kandinsky, April 20, 1923, quoted in nal research project in choral music for 1995. Projects will be considered if they constitute the Erwin Stein, ed., Arnold Schoenberg Letters, principal research component of rhe degree requirements, whether the institution calls rhe project a "dissertation," "document," "treatise," etc. Eligibiliry is limited to doctoral recipients whose trans. Eithne Wilkins and Ernst Kaiser degrees were conferred during the period January 1 through December 31,1995. (New York: St. Martin's Press, 1965),88. Nominations must be approved by the dean, director, or chair of the music unit. An institu­ 14 Ringer, 135. tion should, preferably, submit only one document. In no case mayan institution submit more 15 Martin Rosenberg, Tsen Brider (New York: than two, and a second nomination should include a justification for the additional nomination. Transcontinental Publications, 1995). The winner will receive a plaque and a cash award of $500 to be presented at the 1997 ACDA National Convention in San Diego, California. 16 Shoshana Kalisch, Yes, We Sang (N ew York: A letter of nomination (including rhe signature of the head of the music unit) and one copy of Harper and Row, 1985), 50. Kulisiewicz the dissertation should be submitted no later than April 15, 1996, to Carroll Gonzo, School of recorded Tsen Brider on Songs Fom the Music, University of Texas , Austin, Texas 78712; telephone 512/471-0941; fax 512/471-7836; Depths ofHel~ Folkways FSS 37700. e-mail: [email protected]. 17 Paul Cummins, Dachau Song: The Twentieth­ Centmy Odyssey of Herbert Zipper (New York: Peter Lang, 1992). 18 Szyman Lal(S, Music ofAnother World, trans. LUTHER COLLEGE Chester Kisiel (Evanston, IL: Northwestern University Press, 1989), originally published on tour as Musiques d'un autre monde (Paris: ORDICCHOIR Weston Noble, Conductor Mercure de France, 1948); Fania Fenelon, The Musidans of Auschwitz, trans. Judith 1996 TOUR ITINERARY Landry (London: Michael Joseph, 1977). Marlene Runyon, tour mallager 19 Lucjan Dobroszycki, ed., The Chronicle of Tuesday. January 9.7:30 p.m. Saturday. January 20. 7:30 p.m. the Lodz Ghetto, 1941-1944 (New Haven: Waconia High School Auditorium Valley Christian Center Yale University Press, 1984),36. 1400 Oak Avenue 10800 Dublin Boulevard Waconia, Minnesota Dublin. California 20 Kalisch, 114. 21 Ibid., 3. Wednesday, January 10. 8:00 p.m. Sunday. January 21. 2:30 p.m. Hertz Hall. Central Washington University Old Mission de Telosa 22 Ibid., 120. 11 th and D Streets Mission Plaza. Monterey and Chorro Streets 23 While this is rhe name by which the film is Ellensburg. Washington San Luis Obispo. California popularly known, the title given by Thursday, January 11. 7:30 p.m. Monday. January 22. 7:30 p.m. director Kurt Gerron was Theresienstadt: Wenatchee High School Ascension Lutheran Church 1101 Millerdale Avenue 1396 Calle Castano Ein Dokumentmfilm aus dem Jiidischen Wenatchee. Washington Thousand Oaks. California Siedlungsgebiet (A Documentary Film Friday. January 12. 7:30 p.m. Tuesday, January 23.7:30 p.m. from the Jewish Settlement Area). Karel White Rock Baptist Church American Lutheran Church 1657 - 140th Street 17200 Del Webb Boulevard Margry, "'Theresienstadt' (1941-1945): Vancouver, British Columbia Sun City. Arizona The Nazi Propaganda Film Depicting Saturday. January 13. 8:00 p.m. Wednesday. January 24. 7:30 p.m. the Concentration Camp as Paradise," Assumption Church St. Margaret's Episcopal Church Hist01'ical Journal of Film, Radio and 2116 Cornwall Avenue Highway 74 at Haystack Road Bellingham. Washington Palm Desert. California Television 12 (1992), 150. Sunday. January 14. 3:00 p.m. Friday. January 26. 7:30 p.m. 24 Karel Berman, interview with the author, First Presbyterian Church of Seattle First United Methodist Church Prague, October 14, 1993. 10 13 - 8th Avenue 2111 Camino Del Rio South Seattle. Washington 25 Josa Karas, Music in Terezin (New York: San Diego. California Beaufort Press, 1984), 140. Monday. January 15. 7:30 p.m. Saturday. January 27. 7:30 p.m. University Place Presbyterian Church Red Hill Lutheran Church 26 Berman, interview. 8101 - 27th Street West 13200 Red Hill Avenue 27 Joseph Bor, The Terezin Requiem, trans. Edith T.'1coma, Washington Tustin, California Pargeter (New York: Avon, 1977),7, 10l. Tuesday. January 16. 7:30 p.m. Sunday. January 28. 7:30 p.m. 28 Paul Kling, interview with the author, Warner-Pacific College Lake Avenue Congregational Church 2216 SE 68th Avenue 393 North Lake Avenue Boston, November 17,1994. Portland. Oregon Pasadena. California 29 Karas, 197. Wednesday. January 17. 7:30 p.m. Thursday. February 1. 7:30 p.m. 30 H. G. Adler, Theresienstadt 1941-1945: Das North Medford High School Homecoming Concert. Luther College Antlitz einer Zwangsgemeinschaft; 2. 1900 North Keene Way Drive Center for Faith and Life Medford. Oregon Decorah. Iowa verbesserte Auflage (Tiibingen: J. c. B. Thursday. January 18. 7:30 p.m. Sunday. April 14. 3:00 p.m. Mohr, 1960),661, quoted in Max Bloch, Fremont Presbyterian Church Ted Mann Concert Hall. University of Minnesota "Viktor Ullmann: A Brief Biography and 5770 Caison Drive (Nordic Choir. Symphony Orchestra. Concert Band) Minneapolis, Minnesota Appreciation," Journal of the Arnold Sacramento, California Schoenberglmtitute 3 (October 1979): 162. For more illformatloll. write or cnll the Lmher College Music Depllrt711mt, 700 College Drive. Decomh.lown. 52101-1045. phone (319) 387-1208 -CJ-

DECEMBER 1995 PAGE 19 A Select Bibliography

Books and Articles Haas, Pavel and Karel Berman. Karel Berman, bass; Alfred Holocek Basart, Ann. "Music and the Holocaust: A Selective Bibliography." and Premsyl Charvat, piano. Composers from Theresienstadt. Cum notis variorum 101 (April 1986): 1-30. Channel Classics CCS-3191. Bloch, Max. "Viktor Ullmann: A Brief Biography and Hear Our Voices: Song.> from the Ghettos and the Camps. (Music from Appreciation." journal of the Arnold Schoenberg Institute 3 Terezln, Vtina, V1shnerz, Sachsenhausen, Pryztik). The Zamir Chorale (October 1979): 150-77. of Boston, Joshua Jacobson, conductor. HaZarnir HZ-009. Bor, Josef. The Terez!n Requiem. Translated by Edith Pargeter. Klein, Gideon, Sonata for Piano (also Klein, Trio; Viktor Ullmann, New York: Avon, 1977. String Quartet No.3; Ullmann, Piano Sonata No.1; Hans Cummins, Paul. Dachau Song: The Twentieth-Centmy Odyssey of Krasa, Tanec; Krasa, Brundibar; Ullmann, Abendphantasie, Herbert Zipper. New York: Peter Lang, 1992. Immer Inmitten, Drei jiddische Lieder, Little Cakewalk; Haas, Davidson, Charles. 'The Butterfly Comes Home." joul72al of Four Songs on Chinese Verse). Various artists. Romantic Robot Synagogue Music 23 Guly/December 1993): 25-32. RR-194l. Fenelon, Fania. The lv/miciam ofAuschwitz. Translated by Judith ____. Oeuvres instrumentales et vocales. (Includes: Piano Landry. London: Michael Joseph, 1977. Sonata, Two Madrigals, The Original Sin, Three Songs for High Flam, Gila. Singing for Survival: Songs ofthe Lodz Ghetto, 1940- Voice and Piano, Duo fl1" Violin and Viola, Divertimento, Duo 1945. Urbana, IL: Universiry of Illinois Press, 1992. for Violin and Cello, and Four Movements for String Quartet.) Gilbert, Martin. The Holocaust: A Hist01Y of the jews of Europe Ensemble 2E2M, Paul Mefano, director. Arion ARN 68272. during the Second World War. New York: Holt, 1985. ____. Piano Sonata, Fantasie and Fugue, String Trio, Two Heskes, Irene. "Jewish Music Resources for Holocaust Madrigals, Pvrn! hrlch, Czech and Russian Folk Songs. The Programming." In The Holocaust: An Annotated Bibliography Group for New Music; The Prague Philharmonic Choir; Allan and Resource Guide, ed. David M. Szonyi. Hoboken, NJ: Ktav Sternfeld, piano. Koch 3-7230-2Hl [sic]. Publishing House, 1985, 222-5l. Kra/ww Ghetto Notebook' The Songs ofMordecai Gebirtig. David Karas, Joza. Music in Terezfn. New York: Beaufort Books, 1985. Kempin, voice and guitar. Koch 3-7295-2Hl. Katz, Jacob. The Darker Side of Genius: Richard Wagner! Anti­ Krasa, Hans. Brundibm' (also Frantisec Domazlicky, Czech Songs for Semitism. Hanover, NH: University Press of New England, 1986. Children! Chorus and String Quartet). Disman Radio Children's Lales, Szyman. Music of Another World Translated by Chester Ensemble, Joza Karas, conductor. Channel Classics CCS-5193. Kisiel. Evanston, IL: Northwestern University Press, 1989. Kulisiewicz, Aleksander. Songs fi"01n the Depths ofHell Foll{Ways (Originally published as Musiques d'un autre monde. Paris: FSS 37700. Mercure de France, 1948.) Partisans of Vilna: The Songs of World War II jewish Resistance. Meyer, Michael. "Assumptions and Implementation of Nazi Policy Various artists. Flying Fish Records FF 70450. toward Music." Ph.D. diss., University of California, Los Angeles, Penderecki, Krzysztof. Dies Irae (Dedicated to the Memory ofThose 1971. Murdered atAuschwitz). Polish Radio and Television Symphony Powitz, Stephen. "Musical Life in the Warsaw Ghetto." The joul72al Orchestra and Chorus. VMM 3015 Conifer CDCF 185. ofjewish Music and Liturgy 4 (1981-82). Remember the Children: Songs for and by Children ofthe Holocaust. Ringer, Alexander. "Arnold Schoenberg and the Politics ofJewish Various artists. The U.S. Holocaust Museum HMCD-190l. Survival." joumal of the Arnold Schoenberg Institute 3 (March Rubin, Ruth. Yiddish Song.> ofthe Holocaust. Global Village C-150. 1979): 11-48. Schoenberg, Arnold. A Survivor from Warsaw. BBC Chorus and Rose, Paul Lawrence. Wagner: Race and Revolution. New Haven: Orchestra, Pierre Bowez, conductor. CBS M-35882. Yale University Press, 1992. Senator, Ronald. Holocaust Requiem: Kaddish for Terez!n. Moscow Taylor, Brandon and Wilfried van der Will. The Nazijication ofArt. Philharmonic, Joel Spiegelman, conductor. Delos DE-1032. Winchester, Hampshire (UK): Winchester Press, 1990. Shostakovitch, Dmitri. Symphony No. 13, "Babi Yar." National Symphony Orchestra, Mstislav Rostropovitch, conductor. Erato Annotated Music Collections 2292-45349-2. Kalisch, Shoshana. Yes, We Sang. New York: Harper and Row, Stern, Robert. Terezfn. Robert Stern, piano; Dorothy Ornest, 1985. soprano; Joel Krosnick, cello. CRI-SD-264. Mlotek, Eleanor. We Are Here: Songs ofthe Holocaust. New York: Tippet, Michael. A Child of Our Time. Royal Philharmonic The Workman's Circle, 1983. Orchestra; Brighton Festival Chorus; Andre Previn, conductor. RPO 7012 Philips 420075-2. Recordings Ullmann, Vilctor. Der Kaiser von Atlantis. Gewandhausorchester Davidson, Charles, I Never Saw Another Butterfly. The American Leipzig, Lothar Zagrosek, conductor. London 440 854-2. Boychoir and the American Symphony Orchestra, James Litton, conductor. Music Masters 7049-2-C. Scores Glick, Srul Irving. I Never Saw Another Buttelfly. Maureen Forrester Choral Music Composed in T erezln and John Newmark. Select CC 15.037. (Available through Haas, Pavel. Al Sefod (Do Not Mourn) (TTBB). Berlin: Bote and Canadian Music Centre, 20 St. Joseph Street, Totonto M4Y1J9.) Bock, 1994 (composed in 1942).

PAGE 20 CHORAL JOURNAL Klein, Gideon. Bachuri Lean Tisa (My Boy, Where Are You Hardyk, Joel. 1 Never Saw Another Butte/fly (SA, oboe). New Going?) (SSA). Czech Music Ftmd. York: G. Schirmer, 1980. ____. The Fim Sin (TTBB, T solo). Berlin: Bote and Bock, Horvit, Michael. Even When God Is Silent (SATB). New York: 1993 (composed in 1942). Transcontinental Music, 1993. ___. Two Madrigals (SSATB) and Original Sin (TTBB). Sargon, Simon. Symphony Number One: Holocaust (male chorus, Berlin: Bote and Bock, 1993 (composed in 1943). baritone, orchestra). 1985, MS. (Contact Simon Sargon, 3308 Schaechter, Raphael and Gideon Klein (attributed). Byt Svetem Dartmouili Street, Dallas, Texas 75205). Vlada (unison children's chorus). MS. (Contact Nick Strimple; Schoenberg, Arnold. A Survivorji-om Warsaw (unison male chorus, see "Individuals" below). orchestra, narrator). Composed 1947. Hillsdale, NY: Boelke­ Schul, Siegmund (arranger). Ki Tavo EI Ha-Arets (SSA), 1942. Bomart, 1949. MS. (Contact David Bloch; see "Individuals" below). Tippet, Michael. A Child ofOur Time (chorus, orchestra). Mainz: Schul, Siegmund. Finale from Cantata Judaica (TTBB and T Schott, and New York: Associated Music Publishers, 1944. solo), 1942. MS. (Contact David Bloch; see "Individuals" Weiner, Lazar. Gele Late (SATB). New York: Transcontinental Music, below). 1947. ____. Mogen Ovos (Our Ancestors' Shield) (SATB, high Bar. ____. Kaddish in Memory ofthe Six Million (SATB, T solo, and S soli, organ). Boston: HaZamir Publications, 1995. piano). New York: Cantors Assembly, 1971. Strimple, Nick (arranger), Two Folksongs ji-om Terezin (SATB or 4-6 equal voices). NLS Music, 1994, distributed by Laurendale Publishers Associates. Ashbourne Music, 425 Ashbourne Road, Ellans Park, Pennsylvania Ullmann, Viktor (arranger). Five Choruses for Womens Choir 19117. ("Yomeh," "Du Zolst Nisht Geyn," "Du Meydel Du Sheyns," Barnett Music Productions, 4209 Standish Avenue South, "Hala Yardein," "Ura Yisrael") (SSA), ca. 1942-44. MS. (To Minneapolis, Minnesota 55407. be published by Schott). Bote and Bock, distributed in the U.S. by Theodore Presser, ,..--___. Three Choruses for Men s Choir ("Sha Shtil," "Az Der Presser Place, Bryn Mawr, Pennsylvania 19010. Rebbe Elimelech," "Fregt Di Velt") (TTB), ca. 1942-44. MS. Czech Music FundfTempo (parizska 13, 110-00 Praha 1, Czech Republic. (To be published by Schott). telephone: (011) (422) 24-81-12-58; fux: (011) (422) 24-81-06-14). ____. Three Hebrew Choruses for Children ("Am Yisrael Chai," HaZamir Publications, 35 Garland Road, Newton, Massachusetts "Halleluyall," "Heidad Ginah Ketanah") (SSA), ca. 1942-44. 02159. MS. (To be published by Schott). IMI (Israel Music Institute), distributed in the U.S. by Theodore Two Hebrew Choruses for Mixed Choir ("Anu Olim Presser, for address see above. Artsah, "Eliyahu HaNavi") (SATB), ca. 1942-44. MS. (To IMP (Israel Music Publications), distributed in the U.S. by be published by Schott). Theodore Presser, for address see above. LaurendaieAssociates, 15035 Wyandotte Street, Van Nuys, California Music from Other Ghettos and Camps 91405. Cook, A. I. (arr. Joshua Jacobson). Zol Shoyn Kumen di Ge'uleh. Schott und Sohne, Weihergarten 5, D-55ll6, Mainz, Germany; New York: Transcontinental Music, 1995. telephone: (011) (06131) 246-0; fax (011) (06131) 246211. Isaacson, Michael (arranger). C1'lldle ofFire ("Shtiller," "S'Brent," (Distributed in the U.S. by European American Music). "Zog Nit Keynmol," "Babi Yar," "Ani Maamin") (SA, piano TransconrinentalMusic, 838 FifihAvenue, New York, New York 10021. or orchestra). New York: Transcontinental Music, 1988. Kaplan, Abraham (arranger). Ani Maamin (SATB). Tel Aviv: Individuals Mercaz LeTerabut UleChinuch, 1960. Judith Berman is founder and director of Opera T erezln and can be Rosenberg, Martin (arr. Joshua Jacobson). Tsen Brider (SATB). reached at 4119 Magna Carta Road, Calabasas, California 91302. New York: Transcontinental Music, 1995. David Bloch is Associate Professor of Music at the University of Vishnetz Rebbe (arr. Matiliew Lazar). Ani Maamin (SATB). New Tel Aviv and can be reached at Ha-Emek 48/14, Kfar Sava 44- York: Transcontinental Music, 1995. 221, Israel; e-mail: [email protected]. Yamposlky, Leyb (arr. Joshua Jacobson). Dremlen Feygel (SATB). Joshua Jacobson can be reached at the Department of Music, New York: Transcontinental Music, 1995. Northeastern University, Boston, Massachusetts 02115; e-mail: [email protected]. Post-war Settings of Holocaust-related Texts Joza Karas is auilior of Music in Terezin and can be reached at 212 Adler, Samuel. Stars in the Dust (mixed dlOruS, chamber ensemble). DWlCaster Road, Bloomfield, Connecticut 06002. New York: Transcontinental Music, 1986. Mark Ludwig, Terezln Chamber Music Foundation, Astor Station, Brindley-Barnett, Jeanie. Butterfly Songs (mixed chorus, jazz P.O. Box 206, Boston, Massachusetts 02123. ensemble), l\1inneapolis: Barnett Music Productions, 1993. Nick Strimple is music director of ilie La Vie Chamber Ensemble Chadap, Aharon. The Fire and the Mountains (Ha-Eish VeHeHarim) and can be reached at 1838 Wooster Street, Los Angeles, (mixed chorus, soloists, narrator, orchestra). Tel Aviv: IMP, 1980. California 90035. Davidson, Charles. 1 Never Saw Another Butterfly (SA, piano or Bret Werb, U.S. Holocaust Museum, 100 Raoul Wallenberg Place, orchestra). Ellans Park, Pennsylvania: Ashbourne Music, 1971. SW, Washington, D.C. 20024; e-mail: [email protected].

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