Notes of Memory: Hope Through Art & Writing
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Echoes of Memory Volume 9
Echoes of Memory Volume 9 CONTENTS JACQUELINE MENDELS BIRN MICHEL MARGOSIS The Violins of Hope ...................................................2 In Transit, Spain ........................................................ 28 RUTH COHEN HENRY MARKOWICZ Life Is Good ....................................................................3 A Letter to the Late Mademoiselle Jeanne ..... 34 Sunday Lunch at Charlotte’s House ................... 36 GIDEON FRIEDER True Faith........................................................................5 ALFRED MÜNZER Days of Remembrance in Rymanow ..................40 ALBERT GARIH Reunion in Ebensee ................................................. 43 Flory ..................................................................................8 My Mother ..................................................................... 9 HALINA YASHAROFF PEABODY Lying ..............................................................................46 PETER GOROG A Gravestone for Those Who Have None .........12 ALFRED TRAUM A Three-Year-Old Saves His Mother ..................14 The S.S. Zion ...............................................................49 The Death Certificate That Saved Vienna, Chanukah 1938 ...........................................52 Our Lives ..................................................................................... 16 SUSAN WARSINGER JULIE KEEFER Bringing the Lessons Home ................................. 54 Did He Know I Was Jewish? ...................................18 Feeling Good ...............................................................55 -
Sherith Israel
the Jewish bserver www.jewishobservernashville.org Vol. 82 No. 10 • October 2017 11 Tishrei-11 Cheshvan 5778 Holocaust With ‘Violins of Hope,’ community Memorial, examines Holocaust, social issues art events By KATHY CARLSON intage musical instru- ments that were lovingly on Oct. 8 restored after surviving or more than 10 years, the Holocaust will give Nashville has had a site ded- all of Nashville a focus for icated to remembering those better understanding how who lost their lives through Vpeople confront injustice and hatred. the institutionalized evil The instruments – collectively called of the Holocaust. On Oct. the Violins of Hope – will be played F8, the Jewish community will gather by Nashville Symphony musicians and at the Nashville Holocaust memorial exhibited at the Nashville Library next on the grounds of the Gordon Jewish spring as the city’s Jewish, arts and com- Community Center to remember those munity organizations come together with who were killed as well as Holocaust a host of related programs. survivors, including those who made the Mark Freedman, executive director Nashville memorial possible. of the Jewish Federation and Foundation “So much has changed over the of Nashville and Middle Tennessee, years since the Memorial was complet- spoke at a news conference detailing ed,” said Felicia Anchor, who helped upcoming programs. He thanked the organize the memorial. The community many partner organizations and individu- has lost several survivors who were als who have worked to bring the Violins instrumental in establishing the memo- of Hope to Nashville. rial, including Elizabeth Limor and He recalled how he visited Yad At a news conference at the Schermerhorn Symphony Center, Mark Freedman, Esther Loeb. -
Library of Congress Magazine
LIBRARY OF CONGRESS MAGAZINE MAY/JUNE 2017 DESIGN INSIDE PLUS Great Public Spaces Beautiful Gardens Storage Solutions for FOR Fabulous Flutes America’s Collections Courtroom Style LIVING LOC.GOV LIBRARY OF CONGRESS MAGAZINE Library of Congress Magazine Vol. 6 No. 3: May/June 2017 Mission of the Library of Congress The Library’s central mission is to provide Congresss, the federal government and the American people with a rich, diverse and enduring source of knowledge that can be relied upon to inform, inspire and engage them, and support their intellectual and creative endeavors. Library of Congress Magazine is issued bimonthly by the Office of Communications of the Library of Congress and distributed free of charge to publicly supported libraries and research institutions, donors, academic libraries, learned societies and allied organizations in the United States. Research institutions and educational organizations in other countries may arrange to receive Library of Congress Magazine on an exchange basis by applying in writing to the Library’s Director for Acquisitions and Bibliographic Access, 101 Independence Ave. S.E., Washington DC 20540-4100. LCM is also available on the web at loc.gov/lcm All other correspondence should be addressed to the Office of Communications, Library of Congress, 101 Independence Ave. S.E., Washington DC 20540-1610. [email protected] loc.gov/lcm ISSN 2169-0855 (print) ISSN 2169-0863 (online) Carla D. Hayden Librarian of Congress Gayle Osterberg Executive Editor John H. Sayers Managing Editor Ashley Jones Designer Shawn Miller Photo Editor Contributing Writers Erin Allen Barbara Bair Jennifer Gavin Mitchell Gold The mezzanine of the Great Hall of the Thomas Jefferson Building Mark Hartsell features intricately designed mosaic tile floors. -
Mahler Violins of Hope
OAKLAND SYMPHONY ORCHESTRA Oakland Symphony presents VIOLIN 1 CELLO HORN Dawn Harms, Dan Reiter, Meredith Brown, MAHLER Co-Concertmaster Principal Principal Terri Baune, Joseph Hébert Alicia Telford VIOLINS OF HOPE Co-Concertmaster Michelle Kwon Alex Camphouse Vivian Warkentin, Beth Vandervennet Ross Gershenson STEVE MARTLAND Asst. Concertmaster Jeffrey Parish Crossing the Border for double string orchestra Natasha Makhijani, Paul Rhodes TRUMPET and ballet dancers Assoc. Concertmaster Farley Pearce William Harvey, Principal Oakland Ballet Company Kristina Anderson Elizabeth Struble Matthew Vincent Leonard Ott CONTRABASS John Freeman ANTONIO VIVALDI Carla Picchi Patrick McCarthy, Concerto in F major for Three Violins and Strings, Ellen Gronningen Principal TIMPANI RV 551 Deborah Spangler Alden Cohen Fred Morgan, I. Allegro Emanuela Nikiforova Ben Tudor Principal II. Andante Junghee Lee III. Allegro Alison Miller Andy Butler PERCUSSION David Arend Lyly Li Ward Spangler, Terrie Baune, violin, Liana Bérubé, violin Carl Stanley Principal Dawn Harms, violin VIOLIN 2 Allen Biggs Liana Bérubé, FLUTE INTERMISSION Principal Alice Lenaghan, HARP David Cheng Principal GUSTAV MAHLER Meredith Clark, Candace Sanderson Rena Urso Symphony No. 4 in G major Principal Sharon Calonico Amy Likar I. Bedächtig, nicht eilen; Recht gemächlich (Haupt Tempo) Stacey Pelinka PERSONNEL MANAGER II. In gemächlicher Bewegung. Ohne Hast Baker Peeples III. Ruhevoll: (Poco adagio) Adrienne Duckworth OBOE Carole Klein Sergi Goldman-Hull IV. Sehr behaglich Andrea Plesnarski, -
SAMUEL BARBER the Nashville Symphony Is Grateful for Adagio for Strings Support from Violins of Hope Nashville Project Donors
GUERRERO CONDUCTS THE VIOLINS of HOPE CLASSICAL SERIES THURSDAY, MARCH 22, AT 7 PM | FRIDAY & SATURDAY, MARCH 23 & 24, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CLASSICAL SERIES JUN IWASAKI, violin JONATHAN BISS, piano PRESENTING PARTNER JOHN WILLIAMS Three Pieces from Schindler’s List Theme from Schindler’s List Jewish Town Remembrances WITH SUPPORT FROM: Jun Iwasaki, violin ROBERT SCHUMANN Concerto in A Minor for Piano and Orchestra, Op. 54 Allegro affettuoso Intermezzo: Andantino grazioso Allegro vivace Jonathan Biss, piano - INTERMISSION- JONATHAN LESHNOFF Jonathan Leshnoff's Symphony No. 4 Symphony No. 4, “Heichalos” is made possible in part by a Creation Part 1: Fast: H Binah Project Grant from Metro Arts and an Art Works grant from the National Part 2: Slow Endowment for the Arts. World Premiere | Nashville Symphony Commission SAMUEL BARBER The Nashville Symphony is grateful for Adagio for Strings support from Violins of Hope Nashville project donors. This concert will last approximately two hours, including intermission. This concert is being recorded live for a forthcoming release on Naxos. To ensure the highest-quality recording, please keep noise to a minimum. TONIGHT’S CONCERT AT A GLANCE This concert is part of Violins of Hope Nashville, a citywide collaboration exploring music, art, social justice and free expression. Learn more at ViolinsofHopeNashville.org. JOHN WILLIAMS Three Pieces from Schindler’s List • Originally featured in Steven Spielberg’s 1993 film, these three selections from the score are representative of key themes from the movie, which tells the story of Oskar Schindler, the German industrialist who saved more than 1,000 Jews during the Holocaust. -
FOR IMMEDIATE RELEASE Music at Kohl Mansion Presents VIOLINS OF
FOR IMMEDIATE RELEASE Music at Kohl Mansion Presents VIOLINS OF HOPE SAN FRANCISCO BAY AREA A Priceless Collection of 50 Restored Holocaust-Era Violins Set for West Coast Debut in Eight-Week Residency January 16 – March 15, 2020 Uniting 42 San Francisco Bay Area Organizations With Concerts, Exhibitions, Lectures, Films, Interfaith Services and Community Forums; Special Commemoration of International Holocaust Remembrance Day, Coinciding with 75th Anniversary of the Liberation of Auschwitz, Set for January 27 at San Francisco’s Congregation Emanu-El Program Highlights Include Commissioned World Premiere by Jake Heggie and Gene Scheer, Intonations: Songs from the Violins of Hope, Featuring Mezzo-Soprano Sasha Cooke, Violinist Daniel Hope and String Quartet; “Along the Trade Route” Concerts of Folk and Klezmer Traditions with Cookie Segelstein; Exhibitions at War Memorial Veterans Gallery, Peninsula JCC and New Museum Los Gatos; Performances with the Violins of Hope by New Century Chamber Orchestra, San Francisco Symphony, Oakland Symphony, Peninsula Symphony, and Bay Area Rainbow Symphony www.violinsofhopesfba.org SAN FRANCISCO, CA (November 22, 2019) — The Violins of Hope, a priceless collection of recovered and meticulously restored instruments from the Holocaust era, including instruments that were played by prisoner-musicians in the ghettos and labor/death camps, will make their West Coast debut in an eight-week residency of robust content beginning January 16 through March 15. While the collection currently includes 86 recovered Holocaust-era -
Violins of Hope: Teacher's Guide
Teacher’s Guide sponsors: Dominion Energy WINDSOR Charitable Foundation FOUNDATION TABLE OF CONTENTS Overview of Music During the Holocaust 1 Politics & Propaganda 1 Resistance 3 Responses 5 Memory 7 Violins of Hope Amnon Weinstein 9 James Grymes 10 About Violins of Hope: Instruments of Hope 10 and Liberation in Mankind’s Darkest Hour Introduction to Violin Descriptions 11 The Feivel Wininger Violin 12 The Haftel Violin 13 The Auschwitz Violin 14 Violin from Lyon, France 15 You Can Make a Difference 18 The Holocaust: A Glossary 19 Holocaust History Timeline 22 Works Cited 30 Adapted from the Violins of Hope: Teacher’s Guide to Accompany Violins of Hope Program developed by Danielle Kahane-Kaminsky, Tennessee Holocaust Commission, December 2017. Overview of Music During the Holocaust During the Holocaust, music played many different roles. From the rise of Nazi power in Germany to the end of World War II, governments and individuals used music for a variety of reasons. Here are four prominent main themes of music during Nazi Germany and the Holocaust: • Politics and Propaganda • Resistance • Responses • Memory Source: http://holocaustmusic.ort.org/ Politics & Propaganda For the Nazis, music was not only a source of national pride, but also a tool for propaganda to influence German society. They felt music had a unique significance and power to seduce and sway the masses. Shortly after the Third Reich gained power in 1933, orchestras and conservatories were nationalized and funded by the state, and popular performers were recruited to serve as propaganda outlets for the Reich. The Nazi Party made widespread use of music in its publicity, and music featured prominently at rallies and other public events. -
'We're Going to Do This' Violins of Hope
Published by the Jewish Community of Louisville, Inc. www.jewishlouisville.org JEWISH LOUISVIllE INSIDE: Bound for museum Louisville woman to send father’s Shoah-era notebooks to USHMM COMMUNITY STORY ON PG 4 FRIDAY Vol. 45, No. 10 | October 25, 2019 | 26 Tishri 5780 Louisville woman Violins of Hope gives father’s violin Restored Holocaust-era instruments make music in Louisville to VOH; hopes to By Lee Chottiner hear it played again Community Editor By Lee Chottiner Community Editor One by one, as strands of string music filled the valted sanctuary, the “Ambas- Linda Leeser always knew her fa- sadors of Repair” proceeded down the ther had played the violin, but she aisle of the Cathedral of the Assumption, can’t recall a time when she heard each carrying a violin. him play it. The ambassadors were a diverse group “It’s been tucked in my closet since – Christians, Jews, Muslims, children my father died in ’81,” she said. “Of all and adults, artists and activists. the instruments I know he played, I The instruments they carried, like hu- never heard him play the violin; may- man Holocaust survivors, were them- be I was too young. Maybe I heard selves survivors of that time. And like him on stage, but not ar home.” their flesh-and-blood counterparts, they She understood that many German had stories to tell. Jews put their violins away – or gave These 10 instruments, part of the Vio- them away – after the war, too an- lins of Hope collection, were displayed gry with, or ashamed of, their native on the altar of the cathedral this night, country for afflicting the world with Oct. -
Verdi's Requiem
Verdi’s Requiem WITH THE NASHVILLE SYMPHONY & CHORUS FEATURING THE VIOLINS OF HOPE CLASSICAL SERIES THURSDAY, MAY 31, AT 7 PM | FRIDAY & SATURDAY, JUNE 1 & 2, AT 8 PM NASHVILLE SYMPHONY GIANCARLO GUERRERO, conductor CLASSICAL SERIES TUCKER BIDDLECOMBE, chorus director PRESENTING PARTNER ERIKA SUNNEGÅRDH, soprano MICHELLE DEYOUNG, mezzo-soprano ALEXEY DOLGOV, tenor ERIC OWENS, bass GIUSEPPE VERDI Requiem Requiem and Kyrie MEDIA PARTNER Sequence (Dies Irae) – INTERMISSION – Offertorio (Domine Jesu) Sanctus Agnus Dei The orchestra performances of Verdi's Lux aeterna Requim are made possible through the Libera me generosity of Steve and Judy Turner. This concert will run approximately one hour and 45 minutes, including a 20-minute intermission. to conduct a partnership with the Nashville Symphony to make our community a better place to live and work. INCONCERT 17 GIUSEPPE Gioachino Rossini, who had died in November. Verdi lined up a dozen other Italian composers, each of VERDI whom was to contribute a separate movement for a TONIGHT’S CONCERT Requiem that would be performed on the anniversary of Rossini’s death. Even though the miscellaneous Born on October 9 or 10, parts were collected, financial squabbling and 1813, Le Roncole, Italy; died other unpleasantness scuttled performance plans. AT A GLANCE CLASSICAL on January 27, 1901, in Milan The memorial Requiem was dropped, to Verdi’s disgust, but he later returned to the movement he had completed in 1869 — the concluding “Libera me” — Requiem and incorporated it into his Requiem for Manzoni. Perhaps the most striking of the several paradoxes Composed: 1873-74; the “Libera Me” was associated with the Requiem (known in Italian as composed in 1869 Messa da Requiem) is that the stark reality of death First performance: May 22, 1874, at San Marco inspired a rejuvenating revival of creative energy. -
Violins of Hope
Violins of Hope LIVE AT KOHL MANSION 1 VIOLINS OF HOPE Franz Schubert (1797-1828) Live at Kohl Mansion 8 “Quartettsatz” in C Minor, D 703 (1820) 8. 15 Jake Heggie (b. 1961) Felix Mendelssohn Bartholdy (1809-1847) on texts by Gene Scheer (b. 1958) String Quartet No. 6 in F Minor, Op. 80 (1847) INTONATIONS: Songs from the Violins of Hope (2020) 9 Allegro vivace assai 7. 37 (world-premiere recording) 10 Allegro assai 4. 59 1 Ashes 5. 09 11 Adagio 7. 56 2 Exile 4. 20 12 Finale. Allegro molto 5. 51 3 Concert 6. 35 4 Motele 5. 37 Kay Stern, first violin 5 Feivel 6. 45 Dawn Harms, second violin 6 Lament 5.35 Patricia Helller, viola 7 Liberation 5. 58 Emil Miland, cello Sasha Cooke, mezzo-soprano Total playing time: 75. 14 Daniel Hope, violin Kay Stern, first violin Dawn Harms, second violin Patricia Helller, viola Emil Miland, cello Sean Mori, violin Cover image: Marc Chagall, Blue Violinist (Violoniste bleu) (1947) THE VIOLINS OF HOPE A note about the violins played on this recording By James A. Grymes, PhD, author of Violins of Hope: Violins of the Holocaust VIOLINS OF HOPE is an artistic and educational project comprised of instruments that were owned by Jewish musicians before and during the Holocaust. Some of the instruments in the collection were safeguarded by their owners as they fled Nazi Germany. Others were played in the concentration camps and ghettos, providing a source of comfort for some and a means of survival for others. Regardless of the setting, the instruments represented strength and optimism for the future during mankind’s darkest hour. -
Josh Aronson FIRST RUN FEATURES
A film by Josh Aronson 85 minutes, English, 5.1 Surround & Stereo, Pro-Res File & BluRay, 2012, Documentary FIRST RUN FEATURES The Film Center Building 630 Ninth Ave. #1213 New York, NY 10036 (212) 243-0600 / Fax (212) 989-7649 Website: www.firstrunfeatures.com Email: [email protected] www.firstrunfeatures.com/orchestraofexiles Synopsis One Polish violinist. 70 Jewish musicians. Together they fought the Nazis with the only weapon they had: Music. From Academy Award®-nominated director Josh Aronson, Orchestra of Exiles reveals the dramatic story of Bronislaw Huberman, the celebrated Polish violinist who rescued some of the world's greatest musicians from Nazi Germany and then created one of the world's greatest orchestras, the Palestine Symphony Orchestra, which would become the Israeli Philharmonic. Bronislaw Huberman, violinist and founder of the Palestine Symphony Orchestra Director’s Statement Bronislaw Huberman was a man who performed a unique and extraordinary feat of sustained heroism between 1933 and 1936 – an action that ultimately saved 1,000 Jews and re-defined the cultural world forever. And yet, when his story was told to me four years ago by the daughter of one of the men he saved, I had never heard of Huberman or his powerful journey. I was instantly intrigued and soon learned that little had been written about this great man and a film had never been made of this story. I never looked back and spent the next 3 years making Orchestra of Exiles. The research necessitated the translation of thousands of letters, interviews and articles in libraries from Berlin to Tel Aviv. -
Violins of Hope in Romania the Romanian Athenaeum, Apr 25Th, 2017
Violins of Hope in Romania The Romanian Athenaeum, Apr 25th, 2017 The story Sixteen violins found in Nazi concentration camps after World War II For Jews enduring utter despair and unimaginable evil during the Holocaust, music offered haven and humanity. The strains of a beloved song supplied solace, even if only for a few moments. The chords also provided a vital reminder that even the most brutal regime could not rob them of their faith. No matter what, their souls could be free. In some cases, the ability to play the violin spared Jewish musicians from more grueling labors or even death. Nearly 50 years ago, Amnon Weinstein (now 77) heard such a story from a customer who brought in an instrument for restoration. The customer survived the Holocaust because his job was to play the violin while Nazi soldiers marched others to their deaths. When Weinstein opened the violin’s case, he saw ashes. He thought of his own relatives who had perished, and was overwhelmed. He could not bring himself to begin the project. One violin, for example, belonged to a boy who survived a German massacre in 1944 in Ukraine and afterwards joined a Jewish partisan group. He managed to smuggle explosives into a German officer’s club in his violin case. The attack was successful, but the boy (called “Motele”) was later caught and shot. The partisan commander took his violin to Israel where Amnon Weinstein came across it. After many years work, this instrument has now been restored. By 1996, Weinstein was ready. He put out a call for violins from the Holocaust that he would restore in hopes that the instruments would sound again.