Jeanne Golan - Piano
James Conlan - Host
ARC Ensemble
Breaking the Silence - Music from the Terezin Concentration Camp
Martin Theater - Ravinia Festival
Highland Park, IL US
2011-07-26
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James Conlon continues his internationally-renowned mission to restore music by composers affected by the Holocaust at this year's Ravinia Festival. He conducts the ARC Ensemble and pianist Jeanne Golan in a program of works created by inmates at the internment camp at Terezín
ARC Ensemble: Arthur Raum & Benjamin Bowman - violin; Keith Hamm - viola; Winona Zalenko - cello
Introduction 15:16
Krása: Tanec 5:28
Introduction 4:30
Klein: String Trio
Allegro 2:24
Lento - Variations on a Moravian Folk Theme 3:46
Molto vivace 6:45
Introduction 9:55
Ullmann: Piano Sonata No. 6, Op. 49
Allegro molto - Andante poco adagio 4:21
Allegretto grazioso 2:23
Presto, ma non troppo 1:47
Tempo I. Allegro molto 4:42
Introduction 3:53
Ullmann: Piano Sonata No. 7
Allegro, gemachliche Halbe 4:21
Alla marcia, ben miserato 2:33
Adagio, ma con moto 3:24
Scherzo: Allegretto grazioso - Trio - Scherzo 5:37
Variationen und Fugue (Allegro giocoso energico, martellato sempre) uber ein hebraisches Volkslied 7:19
Introduction 4:05
Ullmann: Quartet No. 3, Op. 43
Allegro moderato 2:44
Presto 3:43
Largo 4:04
Finale: Rondo 2:32
Total Time: 105:42
Info:
[b]Music from Terezín[/b]
Theresienstadt existed with a dual purpose. It was a ghetto that served as a transit point to the Nazi death camps. Additionally, it became the backdrop for a carefully constructed propaganda campaign which the Nazis used to deny the existence of the Final Solution.
In November 1941, a transport of Jews was sent to transform the small garrison town of Terezín, Czechoslovakia into the Theresienstadt ghetto. Only people of Jewish origin were incarcerated there. (Only in the so-called Kleinen Festung there also were political prisoners of non-Jewish origin.) By May of 1945 the Nazis had transported 140,000 people there - among them some of Europe's most gifted artists, musicians, composers and writers who, despite the inhuman living conditions, sustained an active cultural community. Although art supplies, paper, musical instruments and performances themselves were contraband in the barracks, artists and composers struggled to create art and music.
Ironically, these very activities were co-opted by the Nazis and used as part of a plan to deceive the international community and Jews living under German occupation. Performances were staged for a visit of the International Red Cross; the ghetto was transformed into a Potemkin-like village (with gardens, playgrounds, and an outdoor music pavilion) for a propaganda film. It was all designed to give the impression that Theresienstadt was a "Paradise Ghetto" for the Jews. But of the 140,000 people transported to this "Paradise Ghetto," 33,000 died from starvation, lack of medical care, disease and torture. Of the 87,000 people transported from Theresienstadt to the Nazi death camps, five percent survived. Of the 15,000 children who passed through Theresienstadt, only 93 survived.
Some of Europe's most gifted composers were sent to Theresienstadt; composers Pavel Haas, Gideon Klein, Hans Krása, and Viktor Ullmann were prized pupils and assistants of musical luminaries Leos Janacek, Alexander Zemlinsky, Arnold Schoenberg and Alois Haba. The young musicians all pursued promising careers as composers and conductors before their incarceration and eventual execution. Notably, some of Hans Krasa's works had been performed by both the Philadelphia Orchestra and the Boston Symphony Orchestra before the time of his incarceration.
[b]Gideon Klein[/b]
As pianist and composer, Klein (1919 Prerov/Moravia –1945 Fürstengrube) was considered a great talent. However, he had to give up his studies under Alois Hába after the Czech university was closed by the Nazi occupants. He wrote works of amazing maturity, such as a String Trio written at Terezín, Bachuri Le’an Tisa for women’s choir and recently discovered works dating from before 1941, including a Divertimento for wind instruments.
[b]Hans Krása[/b]
A student of Zemlinsky and Roussel, Krása (1899 Prague – 1944 Auschwitz) worked for the Kroll Opera House in Berlin. After a period characterised by a complex cosmopolitan style in which he produced compositions such as Theme and Variations for string quartet, he adopted a more distinct Czech style on being interned at Theresienstadt. Works from this period include the Rimbaud Songs and Passacaglia and Fugue for string trio.
[b]Viktor Ullmann (1898–1944)[/b] was born on 1 January 1898 in the garrison town of Teschen in Silesia, in what belonged to the Austro–Hungarian Empire and is now a part of the Czech Republic. Educated in Vienna, Ullmann made important contributions to both Czech and German cultural life as a composer, conductor, pianist and music critic. Shaped by his engagement with Schoenberg's musical philosophy, German aesthetics, as well the anthroposophy of Rudolf Steiner, Ullmann understood the role of art as central to human spiritual and ethical development. Prior to his death in 1944, he wrote that “[artistic] form” must be understood from the perspective of Goethe and Schiller as that which “overcomes matter or substance [and where] the secret of every work of art is the annihilation of matter through form—something that can possibly be seen as the overall mission of the human being, not only the aesthetic but ethical human being as well.” Within the context of his own compositions, Ullmann used form as a powerful commentary on his own self–conscious engagement with the traditions of Western art music as he engaged with them in the works of Schoenberg, Mahler and Berg.
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