American Classics Paul Schoenfield

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“Get up, man! The day breaks!” Revel, dance, you hangmen! the beam of light tells me, It won’t be long, I hope. AMERICAN CLASSICS “We’ll soon walk with joy, in a bouquet of light— Once there was a Haman, The promise of springtime is peace! His fate awaits you, too. Its bright glance will soon bring the flowers to field, And joyous and free, soon, will be the whole world— Revel, dance, you hangmen, For everyone! Even you Jews.” Jews know what suffering means; The most demanding labor PAUL SCHOENFIELD ! Moments of Confidence (Minutn Fun Bitokhn) Won’t tire us in the least. “Sweep!” you tell us? So we’ll sweep! Jews, let us be cheerful! But as long as you remain, Camp Songs • Ghetto Songs It won’t be long, I hope— There is no point to sweeping— The war will soon be over, This place will not come clean! And soon their end will come. GERARD SCHWARZ: Rudolf and Jeanette Be cheerful and don’t worry! “Wash!” you tell us? So we’ll wash! Don’t carry on in grief; But Cain’s red mark, Have patience and have confidence— And the blood from Abel’s heart, Take hard times in your stride. Cannot be washed away. Music of Remembrance Drive us from our homes! Remember: patience, confidence— Cut away our beards! Don’t let slip away Jews, let us be cheerful— Those ancient weapons that unite We’ll see them go to hell! Our people to this day!

Also available from Music of Remembrance:

8.559219 8.559379 8.570119

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Paul Schoenfield Futile our prayers, To him we owe thanks (b. 1947) We’ve slipped past God’s reach, That the world is on fire— Camp Songs (2001) The heavens are locked tight Gling Glong! Gling Glong! Poems written in the Sachsenhausen concentration camp by Aleksander Kulisiewicz As the core of the earth. Not long, now! Not long! English translation from the Polish by Katarzyna Jerzak His downfall will come! 1 Black Boehm 4:24 The heavens are locked tight, 2 The Corpse Carrier’s Tango 4:56 And fearfully dark; 9 Our Springtime (Undzer Frilinge) 3 Heil, Sachsenhausen! 6:13 Without question or doubt, 4 Mister C. 3:23 This tortures our hearts. Springtime in the trees, in the fields, in the forest, 5 Adolf’s Farewell to the World 6:45 But here, in the ghetto, it’s autumnal and cold, Angela Niederloh, Mezzo-soprano • Erich Parce, Baritone Without question or doubt But here, in the ghetto, it’s cheerless and bleak, Music of Remembrance The secret’s disclosed: Like the house of a mourner—in grief. Mikhail Shmidt, Violin • Laura DeLuca, Clarinet • Walter Gray, Cello There is no more justice, Jonathan Green, Double Bass • Paul Schoenfield, Piano There is no more God. Springtime! Outside, the fields have been planted, Here, around us, they’ve sowed only despair, Ghetto Songs (2008) No peace or solace, Here, around us, guarded walls rise, Poems written in the Kraków Ghetto by Mordecai Gebirtig Just hardship and pain. Watched like a prison, through the darkest night. What will be become of us? 6 Shifrele’s Portrait 4:37 What will be our fate? Springtime, already! It will soon be May, 7 Moments of Despair 3:52 But here, the air’s filled with gunpowder and lead. 8 Tolling Bells 4:08 9 Our Springtime 4:00 8 Tolling Bells (Glokn Klang) The hangman has plowed with his bloody sword 0 A Ray of Sunshine 3:24 One giant graveyard—the earth. ! Moments of Confidence 4:18 The bells are tolling— Gling Glong! 0 A Ray of Sunshine (A Zuniker Shtral) Angela Niederloh, Mezzo-soprano • Morgan Smith, Baritone Gling Glong! Music of Remembrance Like someone were asking: A ray of sunshine has appeared on my bed, Mikhail Shmidt, Violin • Laura DeLuca, Clarinet • Walter Gray, Cello How long, now? How long? Of cherished springtime, the very first herald— Jonathan Green, Double Bass • Paul Schoenfield, Piano How long, now? How long? And gently it calls me awake: Will man be a beast? “Get up, man! The day breaks, Gerard Schwarz Will man be so shameless? the rooster is crowing! (b. 1947) Will man be a mere tool Springtime, the regent of love and delight, @ Rudolf and Jeanette (2007) 15:05 In the hands of the Devil? Approaches from earth’s every corner.” How long, now? How long? Music of Remembrance How long shall he reign? “Get up, man! The day breaks!” Leonid Keylin, Violin 1 • Jeannie Wells Yablonsky, Violin 2 • Susan Gulkis Assadi, Viola the beam of light tells me, Mara Finkelstein, Cello 1 • Julian Schwarz, Cello 2 • Jonathan Green, Double Bass Scott Goff, Flute • Benjamin Hausmann, Oboe • Paul Rafanelli, Bassoon • Laura DeLuca, Clarinet The bells are tolling— And warms me with love, with a tender caress; John Cerminaro, French horn • David Gordon, Trumpet • Valerie Muzzolini, Harp Gling Glong! “Arise now, and spread the good news! Mina Miller, Artistic Director, Celesta and Piano Gling Glong! Make the word known over forest and field, Gerard Schwarz, Conductor Like someone were answering: Let every bird know, every man in the world— Not long, now! Not long! News of salvation long waited!” All works commissioned by Music of Remembrance, Mina Miller, Artistic Director Not long, now! Not long! This recording was made possible by the generous support Will the Devil make merry— of the Charles Simonyi Fund for Arts and Sciences 8.559641 2 15 8.559641 559641 bk Schoenfield 8/20/09 2:14 PM Page 14

5 Adolf’s Farewell to the World A guitar plunked, Germania sighed, Paul Schoenfield (b. 1947) Victoria froze on the tundra. Camp Songs • Ghetto Songs By Volga’s waters, chasing the Russkies, And Adolf’s axis broke like Bardia, The noble troops are fleeing. And once again he’s an outcast. Camp Songs Kulisiewicz, a non-Jew, survived the Holocaust. After Und immer forward and immer weiter, And once again he’s an outcast. liberation, he dictated hundreds of pages of his and his The Russkies chasing the Fritzes. World première of English version: 8th November, fellow inmates’ songs to his attending nurse at a Polish Und immer forward and immer weiter, 2004, Benaroya Hall, Seattle, WA, at Music of infirmary. In the 1950s, he began amassing a private The Russkies chasing the Fritzes. Ghetto Songs Remembrance’s Kristallnacht Commemoration Concert. collection of music, poetry and artwork created by camp Texts written in the Sachsenhausen concentration camp prisoners. Much of this was gathered via correspondence Farewell to Moscow, farewell Samara, Poetry by Mordecai Gebirtig; by Aleksander Kulisiewicz (b. Kraków, 1918-1982); and hundreds of hours of recorded interviews. After his My Leningrad in the distance. English translation from the Yiddish by Bret Werb translated from the Polish by Katarzyna Jerzak. Camp death in 1982, the Kulisiewicz Collection was acquired by The party’s over when in Crimea Songs was commissioned by Music of Remembrance the Archives of the United States Holocaust Memorial They’ll beat the crap out of my pants. 6 Shifrele’s Portrait (Shifreles Portret) and is dedicated to the organization’s founder and Museum in Washington, D.C. I discovered this The party’s over when in Crimea artistic director, Mina Miller. extraordinary collection in the Museum’s archives during They’ll beat the crap out of my pants. On the wall, to the left of my bed, one of my research visits, and knew immediately that I Hangs my daughter Shifrele’s portrait. In the camp, I tried to create verses that would serve as wanted Paul Schoenfield to do something with it. After Farewell my mountains, my Ural Mountains, Often, in the middle of the night, direct poetical reportage. I used my memory as a living Schoenfield accepted MOR’s commission, we met in July And you, too, Ruddy Armada. When I think of her, and miss her so, archive. Friends came to me and dictated their songs. 2000 in Washington, D.C., and with the guidance of You’re manly Stalin, Stalin of steel, I see how she looks at me, —Aleksander Kulisiewicz USHMM musicologist, Bret Werb, delved through the Oh, I am the impotent Adolf! I hear what she says: collection. You’re manly Stalin, Stalin of steel, A journalist by profession, Aleksander Kulisiewicz was Composed between July and December 2001, Camp And I am the impotent Adolf. “Daddy dear! I know that you’re sad, denounced for antifascist writings and arrested soon Songs is a setting of five texts written by Kulisiewicz Und immer forward und immer weiter… But the war won’t last too very long; after the German takeover of Poland. Sent to the during his internment in Sachsenhausen. Black Boehm, the Soon I shall return to you— Sachsenhausen concentration camp near Berlin, first in the cycle, mocks the short, hunchbacked Kapo Prashtchay dear Europe, my gracious Europe, Peace will soon knock at the door.” Kulisiewicz wrote 54 songs over the course of nearly six Boehm, who had a distinctly charred appearance due to Forgive my Arbeit und Freude. Smiling lovingly, so speaks years at the camp. He was liberated in May 1945 and the wild enthusiasm he brought to his job tending the Some other time, some other place, Shifrele’s portrait. devoted most of the rest of his life to collecting and camp’s crematorium. In 1941–42 alone, Boehm helped I might yet marry you, darling! documenting the songs and music created in cremate 18,000 Soviet prisoners of war at Sachsenhausen. Some other time, some other place, 7 Moments of Despair (Minutn Fun Yiesh) concentration camps. Schoenfield made extensive use of Kulisiewicz’s I might yet marry you, darling! Kulisiewicz’s own songs and poems were written in original melodies set to the author’s texts, especially in the A year now of wartime, response to personal and communal experiences within first and last songs. In this English translation from the Adieu, my virgins, lovely Kraut virgins, How ghastly, how vast! Sachsenhausen, or were motivated by news from the original Polish, Katarzyna Jerzak had to confront the Who will now tell me my fortune? How can people live through this? outside world that had filtered into the camp. He challenges of working within a preexisting musical When I was a boy, so proud and saintly, How can they endure? organized and performed at secret gatherings of illegal structure. She notes: “Having sung the English to the I never stuck it in the wrong place! poetry readings and songs. When Kulisiewicz was music in an effort to match the syllables and the accents to A year of persecution, denounced to the authorities as a “nightingale,” Nazi the melody, I found myself haunted by the songs which Sieg Heil, sieg Heil my Generalgouvernexcrement! Of hardship, of pain, doctors tried to silence him through “scientific” played over and over again in my mind long after I had You great and magnificent province, What will become of us? means—injections of diphtheria bacilli to destroy his finished the translation. As a Pole and a Jew, whose family Your pension shall be ever so handsome, What will be our fate? voice. Fortunately, their attempts were unsuccessful, survived the Holocaust through a series of minor miracles, For Goebbels and for my Bromberg. and the Nazis “let the dog sing.” His songs were an act I could not help but identify deeply with the implicit or of spiritual resistance, a documentation of the war’s explicit speakers.” Her decision to keep most of the atrocities, and a means to survive. original German in the English version was motivated by

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the effort to retain the dramatic contrast between the stand there, brothers, douse the fire!” went one line. You’ll give off a stench Ay, Sachsenhausen! German and the original Polish. (Later the song became the anthem of Kraków’s In a deadly tête-à-tête! Heavenly paradise you are Schoenfield’s work challenges the expectations of underground resistance movement.) Another song, S’tut All humanity adores you. even the most hardened student of Holocaust art. vey (“It Hurts”), depicted the lack of compassion Polish In a minute, brother, you’re in heaven, Heil Sachsenhausen! Kulisiewicz’s texts of raw survival, with their grim humor Jews felt from other Poles after the German invasion. And you swallow two warm doughnuts there. and sardonic wit, lay bare the fury seething beneath the Deported to the Kraków ghetto in April 1942, he was shot Three nice angels sweetly scrub your bottom, And if tomorrow I should croak, terrors of the camps. The composer remarked: “The and killed two months later by German soldiers for They cry out: So ein huebscher Arsch!... I will save a high kick for you. poems that I am setting are caricatures which (in Joseph refusing to be deported to the Belzec death camp. It was The fourth angel is the darling Ania Heil, Heil! Es lebe Kulturkampf! Conrad’s words) ‘put the face of a joke upon the body of “Bloody Thursday”, 4th June, 1942. He was 65 years old. She’s pouring five shots down her stupid throat. truth.’ They are an affirmation of dignity; a declaration of With ten angels sleep, my little baby… 4 Mister C. man’s superiority to all that befalls him.” Sleep in heaven, sleep now: c’est la vie! Camp Songs was a finalist for the 2003 Pulitzer Prize It’s the second year, my dear God, in Music. 3 Heil, Sachsenhausen! And the stubborn Hakenkreuz. Can’t be shaken off our backs, Mina Miller I am a wild man, a half savage Pole, Otherwise it’s on your knees. Scheissen Polack, clod; scheissen Polack, clod. Ghetto Songs Und warum denn, warum denn to Africa? Such a great terrible Führer, Here’s my colony! Such a mighty Räubergoy, World première: 12th May, 2008, Benaroya Hall, They bought you like a slave, With his head chock full of garbage, Seattle, WA, at Music of Remembrance’s Holocaust Bought you lock, stock and barrel. While his bloody Volk roars Heil! Remembrance Concert. Poems written in the Kraków Blood drips from your mouth and Ghetto by Mordecai Gebirtig (b. Kraków 1877 – Alles Scheiss ist egal. But Mister C. puffs his big cigar, d. Kraków ghetto, 1942). Ghetto Songs was Mister C. puffs out some smoke; commissioned by Music of Remembrance and is Ay, Sachsenhausen, While Europe falls and crumbles dedicated to the memory of David Green. Exotic colony, sweltering But he is cool, he’s as cool, as cool can be. Germania richtig wild, Ghetto Songs draws on the lyrical legacy of Mordecai Heil Sachsenhausen. Mister C. snuffs out his cigar, Gebirtig, a self-taught folk-singer and actor who earned And he spits on Adolf’s Sieg, his living as a carpenter, making furniture. Born in Our legs as thin as bamboo shoots, He’ll treat him to a funeral, Kraków, he was drawn to performance, joining the Death’s heads look like blackened cactuses. Maybe even in nineteen forty-three. Jewish Amateur Troupe there, and writing theater Heil, heil es lebe Kulturkampf. reviews for a Yiddish newsletter put out by the Jewish Maybe, oh maybe, oh maybe— Social-Democratic Party. Five years of service in the Mädchen I will find for myself, But who can really know, who can really know, Austro-Hungarian army exposed him to a wide range of Polack that I am. truly know for sure? songs, and in 1920 he gathered for publication a song Gibt’s denn so was? Oh, you beasts! Well maybe, poor devil, we’ll see, collection titled Folkstimlekh (“of the folk”). Soon these She’s got pretty eyes, she’s got pretty eyes. Especially the English sea… were being sung around Poland, becoming the hits of their day, and Gebirtig had gained his name as Poland’s From this Mädchen mommy Yoom pom tiu dee dee dee yoom pah. “Yiddish troubadour.” At sixty, outraged by the violent And the stupid daddy Yoom pom tiu dee dee dee yoo— Nazi outbursts of the late 1930s, in particular a 1936 Entrance to Kraków Ghetto, Roman Vishniac, ca. 1935-38. Will come checkered kiddies, Maybe, maybe—who can really know, Copyright Mara Vishniac Kohn, courtesy of pogrom in the Polish town of Przytyk, Gebirtig wrote the the International Center of Photography. will come checkered kiddies, Maybe with some help from the Eastern wind? song Undzer shtetl brent (Our Town Is On Fire): “Don’t Schwartz und weiss und rot… Maybe with some help from the Eastern wind?

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Music of Remembrance Paul Schoenfield offers the following remarks: Shifreles portret (Shifrele’s Portrait) I am extremely indebted to my colleague Bret Werb, Kraków, December 1939 Music of Remembrance (MOR) fills a unique spiritual and cultural role in Seattle and throughout the world by resident musicologist at the United States Holocaust Cut off from his oldest daughter by the Soviet remembering Holocaust musicians and their art through musical performances, educational programs, musical Memorial Museum, for introducing me to the music and annexation of Lemberg, where she lived, Gebirtig talks recordings, and commissions of new works. It is well known that the Nazi regime banned performances of music by poetry of Mordecai Gebirtig. Bret also steered me to to his photograph of her, hoping that their separation living and historical Jewish composers, and by many others they deemed degenerate. Amid the horrors, there were Polish-American Yiddishist Joseph Mlotek, who places will soon be over. courageous musicians who dared to create—even imprisoned in the ghettos and camps. It is a priceless gift that Gebirtig in a select group of poets and bards: “What much of this music has survived as moral and artistic defiance in the face of catastrophe. The Music of emerged from his pen, as well as his heart, was a pure Minutn fun yiesh (Moments of Despair) Remembrance mission is not religious, nor is its scope limited to Jewish music. Although the Holocaust was hymn of love for his people, a hymn touched with Kraków, September 1940 primarily an assault on Jewish people and culture, others suffered as well in what was history’s most potent instance sorrow, sad news and—on occasion—happiness. With Hope is in short supply a year after the German of totalitarian suppression of intellectual and creative work. Musicians’ resistance took many forms, and crossed tenderness and gentle humor Gebirtig offered an insight, invasion, and Gebirtig wrestles with the anguish of not many national and religious boundaries. So that their resistance was not in vain, we remember these musicians by not only into the everyday life and milieu of the people knowing what is to come. preserving and performing their music. Thus we can share in the transformative power of music to move us from the he immortalized in song, but into their feelings and depths of human suffering to the healing beauty of hope and renewal. www.musicofremembrance.org emotions, their hopes and dreams.” Glokn klang! (Tolling Bells) Ghetto Songs is a setting of six Gebirtig poems Łagiewniki, October 1941 fortuitously preserved in the notebook the poet kept To this day it is the custom not to directly mention the Camp Songs 2 The Corpse Carrier’s Tango with him in the ghetto. It is very different from name of negative entities, realizing that naming them Kulisiewicz’s unrelenting sarcasm and black humor in can only add to their strength. So with Gebirtig, who Poetry by Aleksander Kulisiewicz; English translation Oh, that bloody pest, the damned Germania, the texts I used for Camp Songs. Mina Miller and I speaks only of the oppressiveness of evil. from the Polish by Katarzsyna Jerzak Tortures men now four years in a row. settled on these poems by Gebirtig because they are Permission to use the translation was granted by the author. In the crematorium she roasts corpses: written across this whole range between hope and Undzer friling! (Our Springtime) They are warm and so cozy there… gladness and despair. Paralleling other folk settings that Kraków Ghetto, April 1942 1 Black Boehm Because there one person bakes another, I have done, Gebirtig’s poems were used as a broth to Gebirtig’s third spring under Nazi rule brings forced Neither baker nor butcher is he; nourish a relatively large-scale work. Of course confinement in the Kraków ghetto. It is a bitter spring, Both by day and by night, So my boy, hurry into the oven! everyone has socially learned musical tastes so when with nothing new to celebrate. I smoke corpses with all my might! Immer langsam und sicher und froh! composing you have to take that into account. To ears I let out a black black smoke, accustomed to European music, for instance, an Arab A zuniker shtral (A Ray of Sunshine) For I am the black black Boehm! After the first poke you’re feeling better, love song might sound funereal, and so with Yiddish Łagiewniki, May 1941 They punch you in the snout but you laugh… tunes. I used a very simple melodic and harmonic Gebirtig meditates on a ray of sunshine that pierces the And young ladies and old biddies, The third kick’s the one that really sticks, vocabulary. Anything else would distract from the bitter gloom, and dreams of home, of spring, of peace. Little kiddies, too, why not! And the fourth one makes you wet your pants… poet’s intent. Six songs were appropriate for the length A hundred chimneys would be nice, Five dark scoundrels kick you in the kidneys, of the piece, and I ordered them to create the song Minutn fun bitokhn! (Moments of Confidence) So genau like Birkenau. Brother now spit out six bloody teeth! cycle’s portrait of Gebirtig. They are not presented in Kraków, October 1940 Number seven’s heel goes in your belly! the order they were written. Gebirtig turns to the Book of Esther for a story of Happy souls! Anything goes! Only then are things just truly great! resistance and endurance: Haman, a counsel to the Aber Juden sind nicht da! Persian King Achashverosh, tries to eliminate the Jews, Else in nineteen forty-three Delightful Lady Death! Okay! but is himself killed instead. SS-men will come to me. Poor old thing, she’s lonely. She’s got her eye on you, yippee! For the basis of the poems’ description, I owe thanks to Then all healthy, filled with joy, She eats you up so eagerly… Bret Werb. I’ll smoke by day and by night. Her to the cellar you invite, I’ll send up a greasy smoke, And kick the bucket there; I’ll send up the black black Boehm. Soon, too, my dear, 8.559641 12 5 8.559641 559641 bk Schoenfield 8/20/09 2:14 PM Page 6

Paul Schoenfield Julian Schwarz

Composer and pianist Paul Schoenfield was born in 1947 in Detroit, MI. He studied Julian Schwarz, cello, made his Music of Remembrance début in 2005 as the first David Tonkonogui Memorial piano with Julius Chajes, Ozan Marsh, and Rudolf Serkin, and holds a degree from Award Winner, playing his father’s composition, In Memoriam. He appears as soloist in that work on For a Look or Carnegie-Mellon University, as well as a Doctor of Music Arts degree from the a Touch (Naxos 8.559379). A student of David Tonkonogui (1958-2003) for seven years, he started his musical University of Arizona. He has lived on a kibbutz in Israel, and was also a freelance training with the piano at the age of five, the cello at six. He is currently a student at the Coburn School in Los composer and pianist in the Minneapolis-St. Paul area. As a composer, Schoenfield has Angeles. received commissions and grants from the NEA, the Ohio Arts Commission, Chamber Music America, the Rockefeller Fund, the Minnesota Commissioning Club, American Mikhail Shmidt Composers Forum, Soli Deo Gloria of Chicago, and many other organizations. His compositions can be heard on the Angel, Decca, Innova, Naxos, Vanguard, EMI, Mikhail Shmidt, violin, has been a member of the Seattle Symphony since 1990. Born in Moscow, he received his Koch, BMG, and New World labels. Schoenfield currently holds the position of master’s degree from the Gnessin Institute of Music. He has performed with the Moscow State Symphony and the Professor of Composition at the University of Michigan. Moscow Radio String Quartet, and as concertmaster of the Camerata Boccherini Chamber Orchestra. A central artistic participant with Music of Remembrance since its inception, Shmidt can be heard as violinist in Jake Heggie’s For a Look or a Touch (Naxos 8.559379). Photo: Ilya Moshenskiy Morgan Smith

Gerard Schwarz (b. 1947) Morgan Smith, baritone, made his professional opera début in Seattle Opera’s 2001 Rudolf and Jeanette production of Britten’s Billy Budd. He has since sung numerous rôles with the company, including the title rôle in Don Giovanni. A frequent performer with Music of World première: 4th November, 2007, Benaroya The work is in five sections played without pause. The Remembrance, he created the rôle of Manfred Lewin in the 2007 world première of For Hall, Seattle, WA, at Music of Remembrance’s Tenth introduction is intended to be somewhat unsettling. A a Look or a Touch, following his performances of the title rôle in Brundibár (Naxos Season Gala Concert. Commissioned by Music of haunting melody, representing the uncertainty of the 8.570119) at MOR in 2006. He has also performed at Austin Lyric Opera, Ft. Worth Remembrance, this work is dedicated to the memory of times, is played by the flute and accompanied by harp and Opera, Leipzig Opera, Portland Opera, San Francisco Opera, and with the Cincinnati,

Rudolf and Jeanette Weiss. celesta. The strings enter in an accompanying role until Photo: Yuen Lui Studio Detroit, Milwaukee, Baltimore, Seattle, St. Louis, and National Symphony orchestras. the second section begins, which is the love music, Gerard Schwarz offers the following remarks: depicting the loving and passionate relationship between My experience in writing In Memoriam (2005) for Rudolf and Jeanette. This leads directly to the Nazi march Music of Remembrance was a pivotal one—it brought theme, which is based on the opening material of the me back to the joy of composition after a long absence, flute, played here by the horn. The anger and hostility of and so I was happily honored to be asked by Mina the march ends abruptly and a group of Viennese waltzes, Miller to compose a new work for MOR’s Tenth nostalgic memories, are played off stage by two violins, Anniversary. In keeping with MOR’s mission, I decided double bass, and piano. These reminiscences are to compose a work in memory of my mother’s parents, interrupted by disturbing material played by the horn, Jeannie Wells Yablonsky Rudolf and Jeanette Weiss, who, in 1942, were shot at bassoon, and flute. The final waltz, transformed from C the edge of an open grave at the concentration camp in major to C minor, is played on stage by the strings, with Jeannie Wells Yablonsky, violin, a member of the first violin section of the Seattle Symphony, performed in MOR’s Riga, Latvia. Rudolf was exactly my age now when he cello obbligato. This leads directly into the funeral march 2004 recording of Thomas Pasatieri’s Letter to Warsaw (Naxos 8.559219). A graduate of the Cincinnati was murdered in 1942. Although my parents emigrated or death march, as my grandparents were denied the Conservatory of Music, she earned her Master of Music degree from Yale University. to our country in 1939, my grandparents’ exit was dignity of a funeral. I end my work with the return of the denied, their sad fate sealed in that decision. same haunting chords that conclude the opening section. I have composed this work as a tone poem, so that I wrote Rudolf and Jeanette in August 2007 and through music I can honor the grandparents I never knew. orchestrated it during September. 8.559641 6 11 8.559641 559641 bk Schoenfield 8/20/09 2:14 PM Page 10

Angela Niederloh Gerard Schwarz

Angela Niederloh, mezzo-soprano, made her MOR début in May 2008 with Paul Gerard Schwarz, composer and conductor, celebrated his silver conducting Schoenfield’s Ghetto Songs. The Portland, OR, native currently serves as a faculty anniversary with the Seattle Symphony in 2009-10. A frequent guest conductor member at Portland State University and Pacific University. Opera engagements with Music of Remembrance, he was a founding member of MOR’s Advisory have included Angelina in La Cenerentola and Melibea in Il viaggio a Rheims Board. A graduate of the Juilliard School, Schwarz began his conducting career in (Portland Opera), Dorabella in Cosi fan tutte (San Francisco Opera Center), The 1966. Within ten years he was appointed Music Director of the Erick Hawkins Mother in Amahl and the Night Visitors (Opera Omaha), and Mrs. Slender in Dance Company, the Eliot Feld Dance Company, the Waterloo Festival and the Salieri’s Falstaff (Wolf Trap Opera). On the concert stage, her solo credits include New York Chamber Symphony, as well as the Los Angeles Chamber Orchestra. performances with the Metropolitan Opera Orchestra, San Francisco Opera Photo: Yuen Lui Studio In 1981 he established the Music Today contemporary music series in New York Orchestra, Camarata Pacifica, Oregon Symphony, Boston Baroque Orchestra, and City, and served as its Music Director through 1989. In 1983 Schwarz came to the the Seattle Symphony. Seattle Symphony as Music Advisor; the following year he was appointed Principal Conductor. He has held the post of Music Director since 1985. Gerard Schwarz and the Seattle Symphony have released more than eighty compact discs for Delos, EMI, Koch International, New World, Nonesuch, Reference Recordings, RCA, Master Musicians Collective (MMC) and Artek. He was Erich Parce named 1994 Conductor of the Year by the Musical America International Directory of the Performing Arts. He has also received the Ditson Conductor’s Award from Columbia University, an honorary Doctorate of Music from the Erich Parce, baritone, is a frequent guest vocalist with Music of Remembrance. He has Juilliard School, as well as honorary doctorates from Fairleigh Dickinson University, the University of Puget performed the world premières of Paul Schoenfield’s 2003 Pulitzer-finalist Camp Songs Sound, and Seattle University. In May 2002 ASCAP awarded special recognition to Gerard Schwarz for his efforts and Lori Laitman’s Holocaust 1944, Fathers, and The Seed of Dream, recorded on in championing the works of American composers and the music of our time. Naxos (8.559379). The baritone, drawing upon his career singing with opera companies such as the Metropolitan Opera, San Francisco Opera, Seattle Opera, Greater Miami Opera, L’Opéra de Nice and L’Opéra de Montréal, has turned to stage direction. Recent productions include MOR’s 2006 Brundibár (recorded on Naxos), and with other

Photo: Susan Rothchild companies, La bohème, La traviata, The Magic Flute, Gianni Schicchi, Il barbiere di Siviglia, Amahl and the Night Visitors, and Susannah. Music of Remembrance Artists Susan Gulkis Assadi

Susan Gulkis Assadi, viola, has been principal violist of the Seattle Symphony since 1992, and enjoys a varied career as an orchestral player, chamber musician, and soloist. Appearing regularly with Music of Remembrance since its inaugural year, she recorded the MOR commission A Vanished World (written for her by David Stock) and Paul Rafanelli Schulhoff’s Five Pieces for String Quartet, both on MOR’s first CD, Art from Ashes, Vol. 1.

Paul Rafanelli, bassoon, has been a member of the Seattle Symphony since 1992. He studied at the University of John Cerminaro Washington, Manhattan School of Music, and the Juilliard School. He has performed in Italy with the Festival dei Due Mondi, and in the U.S. with the Grand Teton, Spoleto, Waterloo and Britt Festivals. John Cerminaro, horn, principal horn of the Seattle Symphony, has appeared as soloist with many of the world’s leading orchestras. A native of Texas, he was appointed to the New York Philharmonic in 1969, and served as principal horn there until 1979, when he joined the Los Angeles Philharmonic.

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Laura DeLuca Benjamin Hausmann

Laura DeLuca, clarinet, has been a member of the Seattle Symphony since 1986. A frequent performer with MOR Benjamin Hausmann, oboe, was appointed principal oboe of the Seattle Symphony in 2009; previously he served as since its inaugural season, she was the clarinetist in Jake Heggie’s For a Look or a Touch (a MOR commission), principal oboe of L’Orchestre Symphonique de Québec, the Florida Philharmonic, and the Savannah Symphony. recorded on Naxos (8.559379). Ms. DeLuca was the solo clarinetist in the Academy Award winning documentaries Hausmann has been a frequent guest of the Metropolitan Opera Orchestra, Los Angeles Philharmonic, San The Long Way Home and Into the Arms of Strangers: Stories of the Kindertransport. Francisco Symphony, and Baltimore Symphony. He has also served as principal oboe of the Hollywood Bowl Orchestra since 2003. Mara Finkelstein Leonid Keylin Mara Finkelstein, cello, studied at the Gnessin College of Music and the Tchaikovsky Conservatory in Moscow before coming to the U.S. in 1989. She serves as principal cellist in the Northwest Sinfonietta Chamber Orchestra. Leonid Keylin, violin, has been a member of the Seattle Symphony since 1991. Born in St Petersburg, Russia, he She has appeared regularly with MOR since its founding, and is the cellist in Gerard Schwarz’s In Memoriam on has performed as a recitalist and as soloist with orchestras in St Petersburg, Moscow, and other major cities in For a Look or a Touch (Naxos 8.559379). Russia. After immigrating to the U.S. in 1979, he graduated from the Juilliard School. He has appeared regularly with Music of Remembrance since its inaugural year. Scott Goff Mina Miller Scott Goff, flute, has been principal flutist of the Seattle Symphony since 1969. He received his Master’s degree at the Juilliard School, where he studied with Julius Baker. He was associate principal flute in Pittsburgh and principal Mina Miller, piano and celesta, is also Music of Remembrance’s founder and Artistic flutist with the Atlantic Symphony (Halifax). He has also been heard as a featured soloist on Live from Lincoln Director. Born in New York, NY, she studied at the Manhattan School of Music, Center broadcasts. earning her Ph.D. in Music from New York University. She has performed solo recitals at London’s Wigmore Hall, the Tivoli International Music Festival David Gordon (Copenhagen), and the Kuhmo Chamber Music Festival (Finland); concert engagements took her throughout North America, Great Britain, Europe, and David Gordon, trumpet, has been principal trumpet with the Seattle Symphony since 2002. Previously, he served as Scandinavia. In 1998, she founded MOR and began serving as the organization’s principal trumpet of the Charleston Symphony Orchestra. He has performed at music festivals throughout the world, Photo: Yuen Lui Studio president and artistic director. A central artistic participant—she was the pianist in including Tanglewood, Schleswig-Holstein (Germany), and the Pacific Music Festival (Japan). the world première of Paul Schoenfield’s Camp Songs, Thomas Pasatieri’s Letter to Warsaw, and Lori Laitman’s The Seed of Dream—Miller’s bold leadership has Walter Gray attracted some of Seattle’s best musicians. Recognized for her musical advocacy of Holocaust musicians and of new, Holocaust-related chamber works, Miller has Walter Gray, cello, has been a member of the Seattle Symphony for almost three decades. A founding member of lectured in Seattle and internationally on the Holocaust’s cultural and artistic legacy. the Kronos Quartet, he attended the Curtis Institute of Music and has recorded for Delos, CRI, New Albion, Klavier, As a pianist, Miller enjoys an international reputation for her interpretations of the and Mode. As a founding member of the new music ensemble Quake, he produced (and performed on) Seven music of Carl Nielsen. A reissue of the original double CD (for Hyperion Mirrors, music of Chinary Ung (New World Records). Records/London) of Nielsen’s complete piano music is available on Danacord, while her CD of Janáãek’s major piano works is available on Ambassador. Jonathan Green Valerie Muzzolini Jonathan Green, double bass, has been assistant principal bass with the Seattle Symphony since 1998. Previously, he performed with the San Diego Symphony for eleven seasons, including three years as principal bass, and with the Valerie Muzzolini, harp, was appointed principal harpist with the Seattle Symphony at the age of 23. Born in Nice, San Antonio Symphony and Tulsa Philharmonic. He was the doublebassist in Thomas Pasatieri’s Letter to Warsaw, she received her bachelor degree from the Curtis Institute of Music, going on to Yale University for graduate recorded on Naxos (8.559219). studies. She has performed at the Tanglewood and Verbier festivals, and performed under the baton of conductors Sir Simon Rattle, Wolfgang Sawallisch, Kurt Masur, Seiji Ozawa and Bernard Haitink.

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Laura DeLuca Benjamin Hausmann

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Angela Niederloh Gerard Schwarz

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Paul Schoenfield Julian Schwarz

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Also available from Music of Remembrance:

8.559219 8.559379 8.570119

8.559641 16 American Classics tray insert 24/10/2003 9:01 am Page 1

CMYK CMYK NAXOS Playing Paul Time: SCHOENFIELD 65:05 (b. 1947) Disc made in Canada. Printed and assembled USA. compact disc prohibited. Unauthorised public performance, broadcasting and copying of this All rights in this sound recording, artwork, texts and translations reserved. 8.559641 1 1-5 Camp Songs (2001) 25:41 AMERICAN CLASSICS SCHOENFIELD: 6-! Ghetto Songs (2008) 2 24:19 American composer and pianist Paul Schoenfield is at the keyboard for two Gerard searing, heart-piercing works commissioned by Music of Remembrance. Schoenfield SCHWARZ gives voice to the words of two brilliant (b. 1947) poets—one a Holocaust survivor, one

ൿ murdered—and the range of their emotions @ Rudolf and Jeanette (2007) 3 15:05

& through rage, bitter humor, tenderness and Ꭿ WORLD PREMIÈRE RECORDINGS fragile hope. This first English-language 2009 Naxos Rights International Ltd. recording of his Camp Songs (a 2003

Angela Niederloh, Mezzo-soprano 1, 2 Pulitzer Prize finalist) joins his newest song Camp Songs • Ghetto Erich Parce, Baritone 1 cycle Ghetto Songs—transporting listeners from the horrors of the Sachsenhausen 1, 2 Paul Schoenfield, Piano concentration camp near Berlin to life in Morgan Smith, Baritone 2 the Kraków Ghetto. Gerard Schwarz’s Music of Remembrance Rudolf and Jeanette is a haunting, romantic

Camp Songs • Ghetto chamber orchestra work evoking the life 3 Mina Miller, Artistic Director and Piano and love of the composer’s Viennese Gerard Schwarz 3 grandparents, who were killed by the Nazis. This recording was made possible by the Produced by Music of Remembrance, generous support of the Charles Simonyi a Seattle-based non-profit organization Fund for Arts and Sciences. dedicated to preserving the precious cultural legacy of works created by A full track list and artists’ details can be found on page 2 of the booklet. The sung texts are included in the booklet, musicians during the Holocaust, and to and can also be accessed at www.naxos.com/libretti/559641 commissioning new works in memory of their spiritual resistance. Recorded at Illsley Ball Nordstrom Recital Hall, Benaroya Hall, Seattle, USA, on 18th November, 2008 (tracks 1-5), www.musicofremembrance.org SCHOENFIELD: and 28th May, 2008 (tracks 6-12) www.naxos.com 8.559641 8.559641 Produced, engineered and edited by Albert G. Swanson Publishers: Migdal Music (tracks 1-11); Castle Blayney Music (track 12) • Booklet notes: Mina Miller, Paul Schoenfield and Gerard Schwarz Cover image: Vessels (acrylic on canvas) by Félix Denis NAXOS