Music in the Holocaust

Total Page:16

File Type:pdf, Size:1020Kb

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. 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.
Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • (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.
    [Show full text]
  • Trude Hesterberg She Opened Her Own Cabaret, the Wilde Bühne, in 1921
    Hesterberg, Trude Trude Hesterberg she opened her own cabaret, the Wilde Bühne, in 1921. She was also involved in a number of film productions in * 2 May 1892 in Berlin, Deutschland Berlin. She performed in longer guest engagements in Co- † 31 August 1967 in München, Deutschland logne (Metropol-Theater 1913), alongside Massary at the Künstlertheater in Munich and in Switzerland in 1923. Actress, cabaret director, soubrette, diseuse, operetta After the Second World War she worked in Munich as singer, chanson singer theater and film actress, including as Mrs. Peachum in the production of The Threepenny Opera in the Munich „Kleinkunst ist subtile Miniaturarbeit. Da wirkt entwe- chamber plays. der alles oder nichts. Und dennoch ist sie die unberechen- Biography barste und schwerste aller Künste. Die genaue Wirkung eines Chansons ist nicht und unter gar keinen Umstän- Trude Hesterberg was born on 2 May, 1892 in Berlin den vorauszusagen, sie hängt ganz und gar vom Publi- “way out in the sticks” in Oranienburg (Hesterberg. p. 5). kum ab.“ (Hesterberg. Was ich noch sagen wollte…, S. That same year, two events occurred in Berlin that would 113) prove of decisive significance for the life of Getrude Joh- anna Dorothea Helen Hesterberg, as she was christened. „Cabaret is subtle work in miniature. Either everything Firstly, on on 20 August, Max Skladonowsky filmed his works or nothing does. And it is nonetheless the most un- brother Emil doing gymnastics on the roof of Schönhau- predictable and difficult of the arts. The precise effect of ser Allee 148 using a Bioscop camera, his first film record- a chanson is not foreseeable under any circumstances; it ing.
    [Show full text]
  • DCP - Verleihangebot
    Mitglied der Fédération D FF – Deutsches Filminstitut & Tel.: +49 (0)611 / 97 000 10 www.dff.film Wiesbadener Volksbank Internationale des Archives Filmmuseum e.V. Fax: +49 (0)611 / 97 000 15 E-Mail: wessolow [email protected] IBAN: D E45510900000000891703 du Film (FIAF) Filmarchiv BIC: WIBADE5W XXX Friedrich-Bergius-Stra ß e 5 65203 Wiesbaden 08/ 2019 DCP - Verleihangebot Die angegebenen Preise verstehen sich pro Vorführung (zzgl. 7 % MwSt. und Versandkosten) inkl. Lizenzgebühren Erläuterung viragiert = ganze Szenen des Films sind monochrom eingefärbt koloriert = einzelne Teile des Bildes sind farblich bearbeitet ohne Angabe = schwarz/weiß restauriert = die Kopie ist technisch bearbeitet rekonstruiert = der Film ist inhaltlich der ursprünglichen Fassung weitgehend angeglichen eUT = mit englischen Untertiteln Kurz-Spielfilm = kürzer als 60 Minuten Deutsches Filminstitut - DIF DCP-Verleihangebot 08/2019 Zwischen Stummfilm Titel / Land / Jahr Regie / Darsteller Titel / Format Preis € Tonfilm Sprache DIE ABENTEUER DES PRINZEN Regie: Lotte Reiniger ACHMED Stummfilm deutsch DCP 100,-- D 1923 / 26 viragiert | restauriert (1999) ALRAUNE Regie: Arthur Maria Rabenalt BRD 1952 Tonfilm Darsteller: Hildegard Knef, Karlheinz Böhm deutsch DCP 200,-- Erich von Stroheim, Harry Meyen ALVORADA - AUFBRUCH IN Regie: Hugo Niebeling BRASILIEN DCP (Dokumentarfilm) Tonfilm deutsch 200,-- Bluray BRD 1961/62 FARBFILM AUF DER REEPERBAHN Regie: Wolfgang Liebeneiner NACHTS UM HALB EINS Tonfilm Darsteller: Hans Albers Fita Benkhoff deutsch DCP 200,-- BRD 1954 Heinz Rühmann Gustav Knuth AUS EINEM DEUTSCHEN Regie: Theodor Kotulla LEBEN Tonfilm Darsteller: Götz George Elisabeth Schwarz deutsch DCP 200,-- BRD 1976/1977 Kai Taschner Hans Korte Regie: Ernst Lubitsch DIE AUSTERNPRINZESSIN deutsch Stummfilm Darsteller: Ossi Oswalda Victor Janson DCP 130,-- Deutschland 1919 eUT mögl.
    [Show full text]
  • Whole Dissertation Hajkova 3
    Abstract This dissertation explores the prisoner society in Terezín (Theresienstadt) ghetto, a transit ghetto in the Protectorate Bohemia and Moravia. Nazis deported here over 140, 000 Czech, German, Austrian, Dutch, Danish, Slovak, and Hungarian Jews. It was the only ghetto to last until the end of Second World War. A microhistorical approach reveals the dynamics of the inmate community, shedding light on broader issues of ethnicity, stratification, gender, and the political dimension of the “little people” shortly before they were killed. Rather than relegating Terezín to a footnote in narratives of the Holocaust or the Second World War, my work connects it to Central European, gender, and modern Jewish histories. A history of victims but also a study of an enforced Central European society in extremis, instead of defining them by the view of the perpetrators, this dissertation studies Terezín as an autarkic society. This approach is possible because the SS largely kept out of the ghetto. Terezín represents the largest sustained transnational encounter in the history of Central Europe, albeit an enforced one. Although the Nazis deported all the inmates on the basis of their alleged Jewishness, Terezín did not produce a common sense of Jewishness: the inmates were shaped by the countries they had considered home. Ethnicity defined culturally was a particularly salient means of differentiation. The dynamics connected to ethnic categorization and class formation allow a deeper understanding of cultural and national processes in Central and Western Europe in the twentieth century. The society in Terezín was simultaneously interconnected and stratified. There were no stark contradictions between the wealthy and majority of extremely poor prisoners.
    [Show full text]
  • 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.
    [Show full text]
  • Study Guide REFUGE
    A Guide for Educators to the Film REFUGE: Stories of the Selfhelp Home Prepared by Dr. Elliot Lefkovitz This publication was generously funded by the Selfhelp Foundation. © 2013 Bensinger Global Media. All rights reserved. 1 Table of Contents Acknowledgements p. i Introduction to the study guide pp. ii-v Horst Abraham’s story Introduction-Kristallnacht pp. 1-8 Sought Learning Objectives and Key Questions pp. 8-9 Learning Activities pp. 9-10 Enrichment Activities Focusing on Kristallnacht pp. 11-18 Enrichment Activities Focusing on the Response of the Outside World pp. 18-24 and the Shanghai Ghetto Horst Abraham’s Timeline pp. 24-32 Maps-German and Austrian Refugees in Shanghai p. 32 Marietta Ryba’s Story Introduction-The Kindertransport pp. 33-39 Sought Learning Objectives and Key Questions p. 39 Learning Activities pp. 39-40 Enrichment Activities Focusing on Sir Nicholas Winton, Other Holocaust pp. 41-46 Rescuers and Rescue Efforts During the Holocaust Marietta Ryba’s Timeline pp. 46-49 Maps-Kindertransport travel routes p. 49 2 Hannah Messinger’s Story Introduction-Theresienstadt pp. 50-58 Sought Learning Objectives and Key Questions pp. 58-59 Learning Activities pp. 59-62 Enrichment Activities Focusing on The Holocaust in Czechoslovakia pp. 62-64 Hannah Messinger’s Timeline pp. 65-68 Maps-The Holocaust in Bohemia and Moravia p. 68 Edith Stern’s Story Introduction-Auschwitz pp. 69-77 Sought Learning Objectives and Key Questions p. 77 Learning Activities pp. 78-80 Enrichment Activities Focusing on Theresienstadt pp. 80-83 Enrichment Activities Focusing on Auschwitz pp. 83-86 Edith Stern’s Timeline pp.
    [Show full text]
  • Angel Sings the Blues: Josef Von Sternberg's the Blue Angel in Context
    FILMHISTORIA Online Vol. 30, núm. 2 (2020) · ISSN: 2014-668X REVIEW ESSAYS . Angel Sings the Blues: Josef von Sternberg’s The Blue Angel in Context ROBERT J. CARDULLO University of Michigan Abstract This essay reconsiders The Blue Angel (1930) not only in light of its 2001 restoration, but also in light of the following: the careers of Josef von Sternberg, Emil Jannings, and Marlene Dietrich; the 1905 novel by Heinrich Mann from which The Blue Angel was adapted; early sound cinema; and the cultural-historical circumstances out of which the film arose. In The Blue Angel, Dietrich, in particular, found the vehicle by which she could achieve global stardom, and Sternberg—a volatile man of mystery and contradiction, stubbornness and secretiveness, pride and even arrogance—for the first time found a subject on which he could focus his prodigious talent. Keywords: The Blue Angel, Josef von Sternberg, Emil Jannings, Marlene Dietrich, Heinrich Mann, Nazism. Resumen Este ensayo reconsidera El ángel azul (1930) no solo a la luz de su restauración de 2001, sino también a la luz de lo siguiente: las carreras de Josef von Sternberg, Emil Jannings y Marlene Dietrich; la novela de 1905 de Heinrich Mann de la cual se adaptó El ángel azul; cine de sonido temprano; y las circunstancias histórico-culturales de las cuales surgió la película. En El ángel azul, Dietrich, en particular, encontró el vehículo por el cual podía alcanzar el estrellato global, y Sternberg, un hombre volátil de misterio y contradicción, terquedad y secretismo, orgullo e incluso arrogancia, por primera vez encontró un tema en el que podía enfocar su prodigioso talento.
    [Show full text]
  • Antonin Matzner 4 Czech Opera Today Graham Melville-Mason 2006 Janáček’S Operas Free with the Next Issue
    czech music quarterly magazine Antonin Matzner 4 Czech Opera Today Graham Melville-Mason 2006 Janáček’s Operas Free with the next issue ºßØäÙÜé ÄìêàÚ ÂæÝéæy ÑÜäÜâ ÄÜÛÜâ KëæÚßã ÊäæãâØ ¾éØßØä czech music contents 4/2006 editorial Waiting for Stravinsky to go out to the Pharmacy Interview with Antonín Matzner DITA HRADECKÁ Page 2 Report on the Condition of Opera in the Czech Republic The theme of this issue is opera in the Czech Republic. An article by leading opera critic and HELENA HAVLIKOVÁ journalist Helena Havlíková provides a detailed Page 7 account of the Czech opera scene today and may perhaps inspire you to go to a performance when you visit the Czech Czech Music – a Lifetime’s Passion Republic. It is with this possibility in mind that Interview with Graham Melville-Mason we have added an overview of all our opera MARKÉTA VEJVODOVÁ companies including their current repertoire, Page 20 and we shall certainly be returning to opera in future issues of Czech Music. In this issue, don’t miss M. Štědroň’s article on Janáček’s Klangspuren 2006 operas! PETR BAKLA You will also find one more interview than is usual. Apart from the title interview with Page 23 Antonín Matzner and the regular interview in which we present the best musicians of the Young bassonist Václav Vonášek: coming generation (in this case the bassoonist Václav Vonášek), we have also included a Taking Things from Elsewhere conversation with Professor Graham Melville- IVA OPLIŠTILOVÁ Mason, president of Britainęs Dvořák Society Page 25 for Czech and Slovak Music on the occasion of his acceptance of a prize for lifelong promotion of Czech music.
    [Show full text]
  • Filmklassiker Bel Ami (1939)
    Filmklassiker Bel Ami (1939)...........................................................................................................................2 Der blaue Engel (1930)...............................................................................................................2 Ein blonder Traum (1932)...........................................................................................................3 Bomben auf Monte Carlo (1931).................................................................................................4 Die Brücke (1960) ......................................................................................................................4 Des Teufels General (1955) ........................................................................................................5 Das doppelte Lottchen (1950) .....................................................................................................6 3 Männer im Schnee (1956) ........................................................................................................6 Die Drei von der Tankstelle (1956) .............................................................................................7 Emil und die Detektive (1931) ....................................................................................................8 Die Feuerzangenbowle (1944).....................................................................................................8 Frauenarzt Dr. Prätorius (1950)...................................................................................................9
    [Show full text]
  • 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.
    [Show full text]