posted May 2001
This is the first e-Newsletter of the International Forum for Suppressed Music (IFSM), giving information of concerts, broadcasts, conferences, publications and other matters to do with music suppressed by the Third Reich and other totalitarian regimes. You have received this as either you have asked to subscribe, or because our committee felt you would be interested in this whole area of music that is now being addressed with increasing intensity worldwide.
The IFSM was established in 1999 by the Jewish Music Institute (JMI) at SOAS University of London. The President is Sir Simon Rattle and the Executive Committee includes Michael Haas, Executive Producer for the Decca series 'Entartete Musik', Erik Levi, author of 'Music in the Third Reich' and Martin Anderson, journalist, writer and publisher. Members of the Advisory Board include Christopher Hailey of the Schreker Foundation LA, and the Schoenberg Institut Vienna and Albrecht Dümling of Musica Reanimata Berlin.
The IFSM extends an invitation to you to join with us in two ways: If you would like to receive this quarterly newsletter, you need do nothing more and the next one will come to you in due course. We welcome feedback from the newsletter and our Editorial Board will consider submissions for future editions. If you would like to join an interactive mailing list, which is shortly to be set up, where you will also have the opportunity of asking questions, contributing to the general knowledge and informing the group of activities that you are promoting or know about, then please email us and put 'subscribe to interactive list' in the Subject space or in the body of the email, and tell us something about yourself. Already many musicologists, conductors, festival administrators, critics, librarians, writers, singers, composers and journalists from all over the world have signed up for this interactive list and we envisage a very useful (and busy) platform for sharing information.
If you would prefer not be mailed at all, please just email us and ask
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The International Forum for Suppressed Music is interested in receiving articles of original research, reviews of books, articles and recordings and information on concerts, broadcasts, recordings or publications, for future issues, please send abstracts/information to IFSM Editorial Board contact
2. Message from President Sir Simon Rattle
With this newsletter we now have for the first time in the English language
a directory and information service about the many composers whose works
have been lost through political tyranny. Those of us interested in the
field also now have a means of communication with each other, sharing
our knowledge and experience. It is hoped that as we become more acquainted
with them, the works by these composers, who contributed so much to the
development of 20th century music, will continue to enter the mainstream
of musical life around the world today. I wish good luck to this initiative
and the work of the JMI International Forum for Suppressed Music.
3. First British performance of Maschinist Hopkins and other IFSM performances 2001Sunday 25 November 2001, South Bank Centre, London
Thwarted Voices: Music Suppressed by the Third Reich
JMI International Forum for Suppressed Music is involved with several performances this year, culminating in a whole day at the South Bank Centre on 25 November 2001, celebrating composers whose careers were dislocated and almost destroyed in the Third Reich. There will be 6 events at the Queen Elizabeth Hall and Purcell Room from 10am10pm. Undoubtedly the highlight will be the first British staged production of Max Brand's exciting Maschinist Hopkins (2.00pm Queen Elizabeth Hall).
Maschinist Hopkins an opera in 3 Acts, written in 1929, with a powerful text by the composer was written in a period, which saw an unprecedented number of new operas staged in Germany. Krenek's "Jonny Spielt Auf" took Europe by storm as people heard the first opera with a contemporary setting, based on contemporary people. The success of "Jonny" was repeated soon thereafter with Max Brand's "Maschinist Hopkins", a work that matched "Jonny"'s success with 40 different productions in one year alone. The work's contemporary metropolitan setting and 'American' characters were much in vogue. Brand's theme the relationship between humanity and technology was familiar through such works as Fritz Lang's film Metropolis (1926) and was the focus of experiments at the Bauhaus. Brand, like Krenek, Weill and Hindemith, advocated a regeneration of opera by using the most characteristic features of the day. Posing social and humanitarian questions in a combination of thriller and romance, Brand presents events cinematically, using colourful orchestration to enhance the emotional impact of the drama, fully exploiting the stylistic palette of his day. The opera is being presented by Cambridge University Opera Society in collaboration with Baker's Opera, and the Cambridge University Opera Orchestra conducted by Peter Tregear. Barry Humphries (better known as 'Dame Edna') who has a strong personal interest in this music has agreed to be a Patron of this special day. Tickets will be available from September from the Box office 020 7960 4242 or book online at www.sbc.org.uk
The Day's programme includes an introduction by Michael Haas to the composers
featured such as, Korngold, Gal, Schreker, Bittner, Zemlinsky, Webern,
Wellesz, Weigl, Eisler and others. There will be a lieder recital, a chamber
concert by the world renowned Vienna Piano Trio, a concert by the Yehudi
Menuhin School Orchestra and chamber groups, featuring Yaltah Menuhin
(in honour of her 80th birthday). This day will be one of the highlights
of a Festival, Vienna/Berlin/London Trails of Creativity, 19181938
being mounted by the Austrian Cultural Institute this autumn.
Other IFSM concerts this year:Tuesday 22 May, 7.30pm, Belsize Square Synagogue, NW3
Mahler: Piano Quartet Movement, Goldschmidt: Retrospectrum,
Krenek: Serenade, Klein: String Trio, Krasa: Tanec,
Schreker: Der Wind
Pre-concert talk at 6.30pm: Michael Haas and Erik Levi
This concert is part of the Hampstead and Highgate Festival and features the Andrusier Ensemble who performed outstandingly last year, in the 10th London International Jewish Music Festival. This is a modification of a concert first produced in the IFSM International Conference 'Thwarted Voices' at St John's Smith Square last July. Barry Millington, music critic for The Times and reviews editor of BBC Music Magazine who heard this programme, immediately engaged the Andrusier Ensemble for the Hampstead and Highgate Festival of which he is Artistic Director. The ensemble under the direction of Tamar Andrusier is dedicated to featuring the music of composers whose lives were disrupted by the Holocaust, particularly composers who spent time in Terezín and were killed in Auschwitz, such as Victor Ullman, Pavel Haas, Hans Krasa and Gideon Klein. In fact, those who were present or watched the BBC 2 Holocaust Commemoration will have seen the Andrusier Ensemble exquisitely performing the slow movement from Gideon Klein's String Trio, which is also in the programme of this concert. The concert fittingly takes place in the Belsize Square Synagogue, 51 Belsize Square, NW3, a community set up by refugees from Central Europe in 1938.
Tickets: Hampstead and Highgate Festival. 020 8864 6816
Past concerts promoted this year by the IFSM:
15 February, LJCC, London NW3
25 March, LJCC, London NW3
Works in progress:
Franz Schreker as composition teacher
Theatre under the Nazis
Music Publishing and Patronage: C.F. Peters: 1800 to the Holocaust
"╔This powerful story is told comprehensively in this excellent book; and it also reveals many characters in the music world, including Max Reger, Edvard Grieg, Gustav Mahler, Arnold Schönberg, Sigfrid Karg-Elert and Karl Straube╔/... It tells of the growth of a family business into a world leader, and how such a firm was all but toppled in the most savage of periods in the last millennium." Simon Fitzgerald. 'The Organ' MayJuly 2000.
To purchase this particular book, email or fax +44 20 8909 1030 your name, address, visa or mastercard no, for £25 GBP and it will be sent to you post free.
'Dancing with the Devil: Publishing Modern Music in the Third Reich'
Also you may be interested in the recent publication (Paris, Edition Complexe email: complexe.eco[at]wanadoo.fr, April 2001): "La vie musicale sous Vichy", ed. Myriam Chimenes?
For future issues of the newsletter IFSM invites those interested to
submit reviews of relevant material, either printed or recorded. Please
email your reviews to our editorial team: contact
To purchase any of these books email jmduk[at]hotmail.com with your requirements and they will email you back with the prices, availability and methods of payments
5. Goldschmidt Centenary in 2003
The year 2003 is the centenary of Berthold Goldschmidt (born 18 January 1903), giving the opportunity to review and reappraise the life and works of this important composer.
Goldschmidt's output spans virtually the whole of the 20th century, from the early Passacaglia, written in 1925 when he still a pupil of Franz Schreker at the Berlin Hochschule, to his final work, the valedictory Deux nocturnes for soprano and orchestra, completed in London in 1996 at the age of 93. The story of how he fled Nazi Germany for London in the 1930s where he worked in virtual obscurity until a remarkable flowering of interest in the 1980s and 90s is undoubtedly one of the most striking events in late twentieth century musical history. His output includes works in all the major genres including two operas, orchestral works, concertos, vocal music with orchestra and piano, four fine string quartets and a host of pieces for smaller combinations.
For further information on Goldschmidt and his works, please visit the
Boosey & Hawkes website www.boosey.com
or contact Lloyd Moore on Tel: + 44 20 7291 7229, or email at lloyd.moore[at]boosey.com
for a copy of the new Goldschmidt brochure (available June 2001).
6. 'Exile and Suppressed Music' in 20th Century Music
There will be a special session devoted to 'Exile and Suppressed Music
at the conference on 20th Century music at Goldsmith's College, University
of London, this summer. Michael Haas will chair the session, which will
be held on June 28th in the afternoon. Speakers will include Erik Levi
on the Nazi suppression of modernism in Germany, Ales Brezina on Martinu
living between two totalitarian states and Matthias Wurz on Tintner and
Kapralova. Further details from Matthias Wurz matthias_wurz[at]hotmail.com
or view the timetable on:
7. Come to the Viktor Ullmann Homepage
The new website www.come.to/ullmann is intended to make available a comprehensive selection of information about the life and music of the composer Viktor Ullmann (18981944). As a former pupil of Arnold Schoenberg he played a prominent role in the music life of Prague and later Terezín, acting as composer, teacher, pianist, conductor and critic. Especially in the concentration camp of Terezín he wrote an amazing number of masterpieces (19421944), including his opera 'The Emperor of Atlantis' and touching chamber music. Only in the late 1970s were his works rediscovered and fortunately his music has seen a renaissance in the past decade.
you can browse through the 'time frame 18981944', which is complemented
by Ullmann's biography. Furthermore, a detailed list indicates his works
and a map illustrates his trips through Europe. In addition, a selection
of essays is available online, as well as a bibliography and a discography.
You may also find a range of related links, FAQ (frequently asked questions)
and online music concerning Viktor Ullmann. If you want to contribute
to the Viktor Ullmann Homepage, e.g. by indicating future events or reviewing
past concerts or talks, please contact Michael Wiener (michael_wiener[at]web.de).
8. 'Entartete Musik' Exhibition in London available for hire
An extensive exhibition entitled 'Banned by the Nazis: Entartete Musik' is now housed by the IFSM in the UK. This exhibition is an English language version of the Exhibition recreated and mounted in Düsseldorf in 1988 fifty years after the infamous exhibition of that name was mounted by Hitler's forces in that city in May 1938. Most of the material of the Nazi exhibition was lost, but the research and artistry of the two curators Albrecht Dümling and Peter Girth pieced together the terrible vandalism of that time, and pointed to what may have been lost forever. The new exhibition consists of the following sections: Introduction, Spiritual Forebears, Salvation through Unification, The Reconstruction, Music and Race, German Music: The Nazi Ideal, The Defamed, Reaction, Resistance.
Video and sound installations, catalogues in German (279 pages), English (48 pages) and Spanish/Catalan, documents for up to 30 display cases, a documentation of sound (4 CDs; with booklets in German, English and Japanese) and the 80 minute film "Verbotene Klänge. Musik unter dem Hakenkreuz", that was especially produced for that purpose, complete the exhibition.
The 44 panels were produced in English for showing in Los Angeles in 1991 and afterwards travelled to the Bard Music Festival New York (1992), the Brandeis University Boston (1994), the Royal Festival Hall London (1995/96) and the Festival of Suppressed Music in Barcelona (November 2000).
9. IFSM Oral History Archives Project
JMI International Forum for Suppressed Music has embarked on a series of interviews with composers and musicians of the period, or their families. Michael Haas and Betty Collick went to visit the well known Czech conductor and composer Vilem Tauskym now 93, and were able to document some valuable information on the Czech composers Pavel Haas, Erwin Schulhoff, Gideon Klein and Kapralova, all of whom Mr Tausky knew intimately. Indeed, Klein had been the 'little boy across the street whom we all thought was a genius because he would only read dictionaries.' His enthusiasm at the world's rediscovery of these composers was tangible. He had been the assistant on Schullhof's premiere of "Flammen", an opera recorded by Decca's "Entartete Musik" series. Like Pavel Haas, he had studied with Janacek and while in Paris, had met both Martinu and Kapralova. It seemed clear that after the war and murder of an entire nation's principle talent, he had never hoped or thought possible that these voices could be heard again.
The IFSM is interested in conserving in our library archives, scores
and documents relating to composers and musicians whose music was suppressed
and who were forced to leave Central Europe and re-establish their careers
in the UK or elsewhere. We are also seeing that more surviving musicians
(or their relatives) are interviewed and their memories encapsulated for
future generations. If you know someone who fits into that category that
we should interview, or that you could interview, or if you know of documents
and archive material that need a proper home, please telephone the JMI
International Forum for Suppressed Music on +44 (0)20 8909 2445 or email
contact with the details.
10. 'Music in Exile' theme at the BBC Proms Royal Albert Hall, London
One of the themes chosen for this year's season of BBC Proms (20 July15 September) is 'Music in Exile'. The composers featured are Bartók, Britten, Dvorák, Enescu, Ligeti, Martinu, Pärt, Prokofiev, Rachmaninov, Schoenberg and Stravinsky. There will be Weill's Royal Palace on the 2nd August this will be only its second performance in the UK and there is some film music by Korngold.
It is encouraging that such a prominent Festival should open the door to examining works of composers who were forced to leave their homelands and their developing careers and were who able to continue composing in a different milieu. We feel sure that other festivals will follow this example and perhaps look a little further at the many highly regarded and popular composers of their day, whom history forced off the beaten track altogether. For suggestions of repertoire for Festivals and performances,contact the International Forum for Suppressed Music and Michael Haas and Erik Levi, Martin Anderson and Lloyd Moore will be happy to make suggestions.
Full details of The Proms programmes and booking information can be found online at www.bbc.co.uk/proms.
Noa Lachman will be able to supply recordings of suppressed music, including
the nearly 30 Decca recordings, produced by Michael Haas, to any destination
world wide. If you know what you would like just email jmduk[at]hotmail.com
with your requests. Soon there will be listings of recordings available
on the JMD pages on the JMI Website www.jmi.org.uk/jmd . If you have any recordings that you would
like add to the JMD list, please email JMD as above.
12. 'Musica Prohibida': a Festival of 'Entartete Musik' in Barcelona,
When asked to be artistic advisor on a two week Festival of concerts, lectures and an exhibition of 'Entartete Musik': 'Musica Prohibida' in Barcelona by conductor Lawrence Foster and Intendant Abili Fort, I was surprised that a country rediscovering its own identity should be interested in examining a part of European history which had passed them by. After all, the artistic agenda of the Barcelona orchestra was rediscovering its own enormous pool of Catalan compositional talent. To examine music banned by the Nazis seemed a departure of little or no relevance to the Catalans. This was before I realised that the Catalans are eager to be seen as being good Europeans. This means examining the history of what they see as the 'mainland' or 'continent'.
The concerts were chosen with the following themes: Berlin/Vienna; Hollywood exile; Prague, and Franz Schreker and his composition class. The first two were orchestral concerts and included Berg, Schreker, Weill and Hindemith. It was significant that both halves of the concert included non-Jewish composers. It was important to realise the politics of hate, extended to what was called "Jewish contamination" of Aryan composers. The Hollywood exile concert was a mixture of composers who were successes and those who were Hollywood "failures": It started with myself narrating the Survivor from Warsaw, by Schoenberg, followed by Ernst Toch's superb piano concerto. With Toch and Schoenberg, we were able to show that Californian exile was not the paradise that many thought it. The second half went to the central Europeans who shaped Hollywood film music and gave it the identity we all recognise today: Korngold, Waxman, Kaper and Ernst Gold. The chamber music concerts were all preceded with a discussion forum headed by Dr Jose Luis Vidal and myself. The Prague concert consisted of the now familiar string quartets of Krasa, Haas and Schulhoff. I included Martinu as well as he is the only one of the group of Czech composers to have survived.
The City of Barcelona also found the means to take the English translation of the reconstructed 'Entartete Musik' exhibition of Düsseldorf from 1938 and translate it again in Catalan and Spanish. They mounted it in their magnificent Municiple Auditorium foyer. Albrecht Dümling, who with Peter Girth, had reconstructed the exhibition from the remnants of the original, and then had it translated into English for a much smaller festival in Los Angeles, (also accompanied by concerts conducted by Lawrence Foster) provided additional glass display cases with documentation to accompany the 150 running meters of panels. The catalogue for the exhibition was well reproduced with choice articles chosen by myself, translated into Spanish and Catalan. Albrecht Dümling uses the glass cases and accompanying documentation to tailor the exhibition for wherever it ends up being mounted. In this case, he had a number of resistance propaganda song books printed in Barcelona in 1939, as well as documentation on a German language, anti-Nazi propaganda radio station, also based in Barcelona. The question begging to be asked was how the Spanish fascists, quite sympathetic to Hitler, could have allowed these activities. The answers varied, but it remains a minor miracle that though Spain seemed outside the European mainstream in the Hitler years, it was able, via the brave efforts of individuals, to contribute to the Nazi resistance.
The 'Composition class of Schreker' concert was a rerun of the successful concert put on earlier by the International Forum for Suppressed Music at its conference at the School of Oriental and African Studies, University of London in the summer of 2000. Again, sharply making the point of trying to show how music might have gone had the brilliant composition class of Schreker been allowed to grow and develop. The concerts and pre-concert talks even had more people in attendance than in similar events elsewhere.
After two weeks of endless press conferences, interviews, television and radio coverage, I realised that the examination of German music banned by the Third Reich was a cathartic experience for the Spaniards. As they begin to join the club of modern democracies, (and most people still have vivid memories of Franco), they need to examine the damage done elsewhere before starting the painful excavation of their own 20th century musical heritage. A festival such as this, only paved the way. Somehow, I think we'll see a festival of music banned by Franco's dictatorship sooner rather than later.
IFSM now has the English language version of the 'Entartete Musik' exhibition
of Düsseldorf of 1988 and it is available for loan. Michael Haas
is available as Consultant to help plan similar Festivals elsewhere.
13. Conference, Charlottesville, Virginia, USA March 2001
'Music suppressed by the Third Reich' International Conference: University of Virginia (UVA), Charlottesville, March 2001
'When dealing with under-grads, keep plan B handy' was the friendly warning that more experienced academics would mutter when surveying the ambitions of the young Benjamin Levy, a fourth-year arts student at the University of Virginia who had managed to put together an international conference on no less a subject than 'Entartete Musik'. Yet any qualms about Mr Levy's capacity to organise such an event were quickly dispelled, and one was very impressed that so much diversity of subject matter had been packed into a highly stimulating two-day event.
Even veterans of Oxbridge who know something about a lovely campus would have been astonished at the perfection of Thomas Jefferson's design of UVA's quad, called The Lawn. The conference, which was held as part of Charlottesville's Book Fair, took place in several locations and we had by necessity to move from one historic building to another. The opening on Friday afternoon at the "Rotunda" was introduced by Mr Levy who expounded on his wholehearted enthusiasm and commitment to the repertory that had been suppressed by the Nazis. There followed a presentation by Michael Haas on the recording series "Entartete Musik". Although he has spoken on dozens of related subjects, he has never talked about the recording series. This gave him a useful opportunity to take a retrospective look at what Decca accomplished and what it still has to do. It also provided the conference with a useful background to the subject. After all, it's impossible to talk about the thirty-odd completed recordings without having to explain circumstances as to why certain works were chosen over others.
After Michael Haas's presentation, there followed a short talk by Mark Ludwig, the violist from the Boston Symphony Orchestra. Mr Ludwig, a member of the Hawthorne Quartet, which participates in two of Decca's 'Entartete Musik' CDs, is one of the first musicians of exceptionally high calibre to have undertaken a serious exploration of the music composed in Theresienstadt. It was fortunate indeed that Mr Ludwig was able to bring the other members of the Hawthorne Quartet to the conference, for their playing, as heard in two presentations was stunning in its sheer virtuosity. Like so many areas of 'marginal repertoire', "Entartete Musik" has had to put up with more than its fair share of second-rate, well-meaning performers who find their niche in unfamiliar music. Yet the Hawthorne's playing was technically so vibrant and musically insightful that Viktor Ullmann's Third Quartet came across as a true masterpiece of the 20th century, regardless of the circumstances of its composition. Indeed this was also the case with all of the works we heard performed. Not only the Hawthorne Quartet, but an array of other young talented artists were equally persuasive in other performances of a wide variety of works.
Erik Levi's presentation 'Exiled Composer in the UK' in the later afternoon provided one of the few opportunities in the conference to place into context the reactions of the so-called 'good guys' between 1933 and 1945. He was able to paint a picture of life in Britain that was far from perfect for many of its German and central European refugees, emphasising the point that while the Nazis were barbaric, the reactions of those from other countries were not necessarily sympathetic to the plight of the oppressed.
Bret Werb from the American Holocaust Museum made an interesting presentation on the Yiddish activist ghetto poet from Poland, Smerke Kaczerginski. This was music that was unfamiliar, though to some of the Americans of Yiddish decent, it seemed well regarded. The participants left with his propaganda songs well lodged in their brains, despite some dubious -sounding historic performances. So far, nobody has satisfactorily answered the question as to how music can be read from left to right with the Yiddish text set right to left.
One of the most provocative talks was the presentation made by Gottfried Wagner on his great-grandfather and more importantly, on his parents, and grandparents. Again, one was alarmed that two of the most inspirational figures of the Nazi movement, Winifred Wagner and Houston Stewart Chamberlain, daughter in-law and son in-law to Richard Wagner, were of British descent. Gottfried's guilt and sense of grief at his family's contribution to the cultural justification of anti-Semitism was overwhelming. He was balanced by Abraham Peck, Director of Post-Holocaust Judaic and Christian studies at the University of Southern Maine, who was able to expound on the difficult experience faced by post-war generations of victims and perpetrators.
Saturday kicked off with Susan Cook, professor at the University of Wisconsin, on the popular dance in the Zeitoper placing special emphasis on the works of Kurt Weill, Ernst Krenek and Friedrich Holländer. It was a pity that there wasn't a longer presentation from this distinguished academic, but for some reason, Michael Haas found himself buttonholed to try and get a discussion going. This was a shame as frankly, nothing that he could say, or indeed was said by the public was as interesting as Susan's talk╔we wished she had carried on. There followed a short yet unsatisfactory recital of some of Weill's songs. The composer's cause was much better served later in the day with a chance to hear part of his Violin Concerto, performed at exceptionally short notice by Gregory Fulkerson with members of the University Symphony Orchestra. Needless to say, it was very disappointing that only the first movement was programmed, particularly since Fulkerson, playing on a marvellous instrument that belonged at one time to Alma Rosé, produced a much sweeter tone than is customary in this somewhat dry work.
Undoubtedly the strongest, most moving and important event of the weekend involved Mark Ludwig and the Hawthorne Quartet. Mr Ludwig talked once again about Theresienstadt and the third quartet of Viktor Ullmann. Both subjects were presented in a very direct manner to a totally naïve but exceptionally receptive audience. Yet the approach was far from patronising, and the work surpassed our expectations. He also introduced to us Ela Weissberger, a survivor of Theresienstadt and performer of the role of the cat in Brundibar, the children's opera by Hans Krasa. It goes without saying that hearing Ms Weisberger' relate her harrowing experiences was extremely moving Her presentation was strong for its very honesty and lack of maudlin pretension.
The same unfortunately, could not be said for Martin Goldsmith's lecture on the 'Jüdische Kulturbund'. Mr Goldsmith has written a popular book about his parents meeting and falling in love while performing in the Kulturbund orchestra. A major study on the activities of the Kulturbund is long overdue in English, but his book, "The Inextinguishable" does not fit the bill. His 'presentation' focused more on anecdotal information about his family than on the "Kubu" and rather than speak, he read some of the book's more toe-curling passages. By the time a good number of the audience was sobbing, looking pained at the apparent badness of humanity, he withdrew to the foyer to sell and sign copies of his book. He departed as suddenly as he arrived without staying for the Gala concert that the students had counted on him presenting. The impression was that Mr Goldsmith had arrived thinking he was talking to a book club and not at a conference on "Entartete Musik".
The Gala concert in the evening was a strange but enjoyable mixed bag. It opened with a dramatic performance of Korngold's "Ich ging zu ihm" sung by Kathryne Jennings, from the opera Das Wunder der Heliane. Then followed an astonishing work, Four Preludes, by Vitezslava Kapralova played with fine technical accomplishment by the young Chinese American pianist Kuang-Hao Huang. The sublimely wonderful third movement from Erwin Schulhoff's Sonata for Flute and Piano provided a marvellous foil to the Kapralova.
The oddity in the evening, especially coming after the Schulhoff was another medley of Kurt Weill songs, a sine qua non if the conference was to get funding from the Kurt Weill Foundation. This was an interesting yet mercifully short mixture of a couple of Broadway numbers that culminated in a weird rendition of Mack the Knife as rap.
The Hawthornes closed the concert with the second half to themselves: Gideon Klein, Pavel Haas, Hans Krasa and again, Viktor Ullmann's third quartet. It was physically painful to think of the talent lost in the 25 year old Gideon Klein, murdered at Auschwitz. His music was never emotional and perhaps all the more moving as a result. It was solid and intellectual, though the circumstances of its composition in Theresienstadt begged many questions. Haas, a more established composer was represented by the melancholic slow movement of his second quartet, a work used as the final track on the "Entartete Musik" compilation disc.
Perhaps the best moment and a perfectly stage-managed end to the concert
and the event was the finale of Brundibar performed by the local opera
group. They did a great job and as an encore, Ela Weissberger sang in
Czech the role she had sung in 1942, her voice as clear and perfectly
tuned as ever. No wonder she was chosen for the role almost 60 years ago.
14. Performance Calendar a list of concerts of suppressed music worldwide
Jan 2001 onwards
Please submit details of any future performances to us.
SELECTED PERFORMANCES 2001/02
21.1.2001: Retrospectrum (US premiere)
5.2.2001: Fantasy for oboe, cello and harp
18.3.2001: Fantasy for oboe, cello and harp
25.3.2001: Variations on a Palestine Shepherd's Song/
9.6.2001: String Quartet No. 2
12.8.2001: Fantasy for oboe, cello and harp
13.8.2001: Clarinet Quartet
14.8.2001: Piano Trio
2.11.2001: Rondeau 'rue du Rocher'
18.1.2002: String Quartet No. 2
10.3.2002: Suite op. 5
Erich Wolfgang Korngold
18/19/21.1. 2001: Violin Concerto
25.1.2001: Violin Concerto
25.1.2001: Violin Concerto
8/9/13.2.2001: Violin Concerto
25.2.2001: Cello Concerto
23.4.2001: Piano Trio op. 1
4/6.5.2001: Die tote Stadt
14/1./21.5.2001: Paris, Théâtre du Châtelet
6/13/18/21/25/: Die tote Stadt
7.5.2001: Much Ado about Nothing (Suite)
13/14.5.2001: Violin Concerto
31.5.2000: Violin Sonata
10.6.2001: Piano Trio op. 1
10.6.2001: String Quartet No. 2
3.7.2001: Much Ado About Nothing
5.12.2001: Cello Concerto
1.3.2002: Violin Concerto
22.5.2001: String Trio
10.11.12.13/10/2001: Die Nachtigall
5/6.3.2001: Chamber Symphony
8.3.2001: Chamber Symphony
5.5.2001: Der Geburstag der Infantin
22.5.2001: Der Wind
7.7.2001: Chamber Symphony
29.9.2001: Chamber Symphony
21.10.2001: Der ferne Klang
26.1.2002: Die Gezeichneten
18/19/20.4.2002: Vorspiel zu einem Drama
2/6/11/18/: Die Gezeichneten
20.5.2001: Concerto for string quartet and wind instruments
25.5.2001: Köln, WDR, Funkhaus Wallrafplatz
28.5.2001: Five Pieces for String Quartet
11/12/13.5.2001: Concerto for string quartet and wind instruments
24/26/28.6.2001: Symphony No. 2
9.6.2001: Suite for chamber orchestra
5.2.2000: Trio in D minor op. 3
11.3.2001: Lyric Symphony
22/23.3.2001: Die Seejungfrau
12.5.2001: Eine florentinische Tragödie/Der Zwerg
14.5.2001: Lyric Symphony
26.5.2001: Psalm 83/Psalm 23
28.5.2001: Eine florentinische Tragödie/Der Zwerg
29.31.5/18.104.22.168.7: Der Zwerg
17.9.2001: Trio in D minor op.3
27/28.9.2001: Die Seejungfrau
24.28.31/1: Der Zwerg|
5.10.2001: Symphony in B flat major
26/27/28.4.2002: Die Seejungfrau
9.6.2002: Eine florentinische Tragödie/Der Zwerg
Other Performance events:
For more information:
Dr. Primavera Gruber of the Orpheus Trust, Vienna Verein zur Erforschung und Veröffentlichung vertriebener und vergessener Kunst, Sigmundsgasse 11/3, A-1070 Wien, Tel/Fax 01/5268092, writes to inform us about a Piano Recital by David Holzman, presented by the Orpheus Trust in cooperation with the Arnold Schönberg Festival, Arnold Schönberg-Center Vienna, 2001, May 14, 7.30 p.m.
Arnold Schönberg 3 Klavierstücke op. 11
Also of interest is the Orpheus Trust international symposium 'Music
Therapy in Exile. Vally Weigl, a pianist, composer and music therapist'
May 28th and 29th at the Herbert von Karajan Centrum and the Sigmund Freud
Museum. For more details email: office[at]orpheustrust.at or
Wednesday 9 May, 8.30pm Rome Opera House. Tickets + 39 06 48 160 255
June 317 Bernreid, near Munich Elysium 7th International Summer
June 2129 European tour to Bernreid, Sarajevo, Berlin and Leipzig
Wednesday 20 June, 7.00pm Czech Embassy, London
Wednesday, 13 July, 7.00pm Czech Embassy, London
Brundibar: Paul Aron Sandfort was a trumpet player 14 years of age in the stadtkappelle in the Terezín ghetto 194345. He made a European tour with an outstanding educational performance of Brundibar
by the Jeunesses Musicales M-V, which also visited London in Oct. 2000. He is now giving lessons and introductions at performances of Brundibar and Ullmann's Terezín opera The Kaiser von Atlantis, having made stage directions of these too. In Schwerin, near Hamburg, he participated in a symposium and concerts of Terezín composers last January. Paul Aron Sandfort now lives partly in Denmark, paul[at]post12.tele.dk , and partly in Rome, sandfor[at]tin.it and is going to Reggio Emilia for a Brundibar, and to a Brundibar in Terezín in June, organizing a Brundibar in Aquila near Rome, and several performances in Denmark for the next year.
The director and the organizer of these events are: Volker Ahmels, Konservatorium Schwerin, Puschkinstr. 6, D-19055, 0385 5557290, volker[at]ahmels.de , jeunesses musicales MV, and Wolfg. Donner, Akademie fuer politik und kultur, akademiepwkschwerin[at]t-online.de
The Wiener Festwochen 2003 will be dedicated to the exiled and murdered
composers and the Jewish Museum of Vienna will have an exhibition at that
time. Programme may include some Zeisl premieres, including perhaps his
comic opera "Leonce und Lena." The Zeisl centenary is 2005. Details from
E. Randol Schoenberg. randols[at]schoenberglaw.com
15. Information about JMI International Forum for Suppressed Music
President: Sir Simon Rattle
The International Forum for Suppressed Music (IFSM) was established in September 1999, by the Jewish Music Institute, (JMI) at the School of Oriental and African Studies, (SOAS) University of London, as a platform to bring together all those working in the field of suppressed music. Although its early focus is on composers who suffered under the Third Reich, the IFSM is also platform for examining music under other totalitarian regimes.
Music suppressed by the Third Reich
IFSM is starting to plan the second JMI IFSM International Conference, to be held in Paris in late June or early July 2002.
|The Jewish Music Institute is an independent Arts organisation based at SOAS, University of London. It is an international focus bringing the ancient yet contemporary musical culture of the Jews to the mainstream British cultural, academic and social life. Its programmes of education, performance and information highlight many aspects of Jewish music throughout the ages and across the globe for people of all ages, backgrounds and cultures.|