Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Terezín/Theresienstadt Ilse WEBER (1903-1944) 1.Ich wandre durch Theresienstadt [2:38] Karel ŠVENK (1917-1945) 2. Pod dešnikem [3:10]; 3. Všechno jde! [2:16] Ilse WEBER
4. Ade, Kamerad [2:23]; 5. Und der Regen rinnt
[1:48] Adolf STRAUSS (1902-1944)
6. Ich weiss bestimmt, ich werd dich wiedersehen! [3:19] Anon
7. Terezin-lied (after the song “Komm mit nach Varasdin” from the operetta Gräfin
Maritza by Emmerich Kálmán) [2:56] Martin ROMAN (1910-1996)
8.
Wir reiten
auf hölzenen Pferden from the cabaret Karussell [4:12] Ilse
WEBER
9. Wiegala [2:35] Hans KRÁSA (1899-1944)
10-12.
Three
songs after poems by Arthur Rimbaud: Čtyřverší [1:41] Vzrušení [2:00]
Přátelé [1:19] Carlo
Sigmund TAUBE (1897-1944)
13. Ein jüdisches Kind [2:44] Viktor ULLMANN (1898-1944)
14. Beryozkele from Three
Yiddish Songs (Březulinka) op.53 [5:21]
15-17.
Six Sonnets op.34: Clere
Vénus (Sonnet V) [3:36] On voit mourir (Sonnet VII) [2:39] Je vis, je meurs (Sonnet VIII)
[1:22] Pavel HAAS (1898-1944)
18-21.
Four
Songs on Chinese Poetry: Zaslech jsem divoké husy [2:39] V bambusovém
haji [2:06] Daleko
měsic je domova [5:05] Probděná noc [3:27] Erwin
SCHULHOFF (1894-1942) Sonata for solo violin (1927)[12:00] 22. 1.Allegro
con fuoco [1:42]; 23. 2.Andante cantabile [5:31] 24. 3.Scherzo. Allegro grazioso
[2:11]; 25. 4. Finale. Allegro risoluto [2:36]
Anne Sofie von Otter (mezzo)/Bengt
Forsberg (piano) (1-3, 5, 6, 8, 13, 13-17), Bebe Risenfors (accordion) (1-3)
(double
bass) (5),
(guitar) (9); Christian Gerhaher (baritone) (4, 7, 10-12, 18-21); Gerold Huber
(piano) (7, 18-21); Ib Hausmann, (clarinet) (10-13); Philip Dukes (viola) (10-12);
Josephine Knight (cello) (10-12); Daniel Hope (violin) (22-25) DEUTSCHE GRAMMOPHON
4776546[71:40]
The
idea for this CD came as a result of Anne Sofie von Otter
being asked to sing at the International Forum on the Holocaust
in Stockholm in 2000. She was given a selection of songs
to look at by the Terezin Chamber Music Foundation and, as
a result, discovered works she had not come across before
which made a profound impression upon her. She felt hugely
moved by the thoughts of the terrifying situation in which
people who had been arrested were herded to the ghetto city
of Terezin in Northern Bohemia and whose only ‘crime’ was
their Jewish heritage. She understood how the creation of
music, art, theatre and literature and other art forms afforded
them a few precious moments of serenity and calm. This was
against the background of the harsh regime within the city’s
walls and the almost daily dispatch of numbers of the inmates
to their deaths in the gas chambers of Auschwitz and other
concentration camps. To quote the liner notes she says: “’We
must never be allowed to forget’ has been said many times
before, but it must continue to be said again and again.
Genocide and persecution are still happening in the world
around us every day. This project reflects my sincere wish
to commemorate those who created music under conditions of
unthinkable misery and who so tragically lost their lives.”
I
would like to dedicate this review to the memory of my friend
and work colleague for 10 years Marlies Fulder who lost both
her parents in concentration camps where they were sent from
Terezin.
Only
seven of the fifteen sections on this disc involve Anne Sofie
von Otter. This shows how much she was committed to the project
to give greater exposure to those wonderful composers whose
lives were so cruelly cut short in their prime. It also gives
us a glimpse of the huge talent that we could have enjoyed
for so much longer had the Nazis not launched their vicious
campaign to eliminate the Jewish race in its entirety.
Nine
named composers plus one whose name is unknown are represented
here, all but two of whom perished in concentration camps
where they were sent from Terezin. Erwin Schulhoff was sent
directly to the concentration camp in Würzburg where he died
in 1942. Martin Roman survived to live until 1996. All of
them suffered by being banned from performing or being performed
before the fateful day when they were sent away. This makes
the events which occurred at Terezin all the more cynical
since it was there that the Nazis perpetrated their most
calculated lie by eventually allowing, even encouraging composing,
writing, art and theatre performances in order to fool the
world into believing that, as the Nazi propaganda had it, “The
Third Reich gives the Jews a City”. They invited personalities
and finally the International Red Cross to visit Terezin
to see for themselves how ”merry musicians” played café concerts
and how full-blown operas and symphony concerts were presented,
poets read their own poems, plays were put on and paintings
were exhibited, many by the hundreds of children incarcerated
there. The true feelings and inspiration behind the wonderful
works created, amid the terrible conditions that pertained
there in which the inmates were being starved with only the
most meagre of rations, were crystallised by
the composer Victor Ullmann. In his essay “Goethe and the
Ghetto” he wrote “we did not simply sit down by the rivers
of Babylon and weep but evinced a desire to produce art that
was entirely commensurate with our will to live”. An example
of the crude cynicism involved was the putting on of Hans
Krása’s children’s opera Brundibar which
played there many times with different casts of children
since almost immediately after each performance the current
cast was dispatched to the gas chambers of Auschwitz. Yet
after its first public performance in Prague Krása, together
with the opera’s director and son plus the cast were sent
off to Terezin and the work was banned from public performance.
It
is therefore against this background of history that this
disc should be heard which is full of pathos yet with that
inextinguishable faith in humanity shining through. In other
words the creation of their art there was a supreme act of
defiance in the face of the Nazis’ efforts to erase the works
of Jewish composers, writers and artists.
The
disc begins with one four songs written by Ilse Weber (1903-1944),
who wrote more than 60 poems whilst in Terezin. She set many
of them to music, accompanying herself on guitar whilst she
made her night rounds as a nurse. Ilse Weber volunteered
to go to her death in the gas chambers together with the
sick children from Terezin. Eyewitness accounts reported
that in there she sang them her song Wiegala (Lullaby)
(track 9). Her songs with their simplicity and inward regret
are among the most poignant written in Terezin. Her first
song “I wander through Theresienstadt” ends “…when will our
suffering end, when shall we again be free?” Sadly that was
never to be. Karel Švenk (1917-1945) treats his laments with
a touch of irony and in the first of his two songs on this
disc Under an umbrella writes “…even in the strongest
gale, one of life’s losers retains a spark of hope, and so
I/we can laugh in the rain!” and in the second Anything
goes! “Anything goes, with good will, we will join hands,
and at the ruins of the ghetto we will laugh”.
Hans Krása,
was sent to Auschwitz on the same day as Victor Ullmann and
Pavel Haas and all three were gassed immediately on arrival.
He is represented here by three songs after words by Arthur
Rimbaud. They are easily recognisable as his,
such is his cheeky style full of quirky rhythms which reappear
in one of his string quartets. Victor Ullmann was an internationally
celebrated composer when the Nazis marched into Czechoslovakia
on 15 March 1939. Overnight he became a “subhuman creature
unworthy of existence” whose works immediately vanished from
the stage. He was prevented from appearing in public any
longer. His songs Beryozkele, Clere Vénus, On voit mourir and Je
vis, je meurs are proof of his musical abilities and
give a glimpse of what was lost when he was murdered. Pavel
Haas was expressly sent to Terezin as a member of a
team designated with the task of building up the camp’s cultural
credentials and suffered an almost complete breakdown only
coming out if it with the help of other musicians. One of
his best-known compositions, apart from his three string
quartets, including the wonderful String Quartet No.2 From
the Monkey Mountains, is his Four Songs on Chinese
Poetry which incorporates a leitmotif of the St. Wenceslas
Chorale to symbolize his Czech homeland.
The other composers
whose music features on this disc are Adolf Strauss, Martin
Roman and Carlo Taube who left behind a single song when
he was sent to Auschwitz with his wife and young son, all
three of whom were gassed in the autumn of 1944. We do not
know the name of the writer who took a famous song from Emmerich
Kalman’s Countess Maritza and made a parody of it
with the words “Yes, in Terezin we take life just as it comes”.
Karel Švenk’s song Anything goes, with good will became
the camp’s anthem while Martin Roman’s We’re riding on
wooden horses allowed the inmates a brief respite from
their privations and to indulge their memories of happier
times in childhood. Adolf Strauss’s tango affirms I know
for certain that I shall see you again! The disc finishes
with Erwin Schulhoff’s sonata for solo violin played brilliantly
by Daniel Hope. His devotion to Schulhoff’s music will, it
is hoped, bring forth more discs of his music. Hope writes “…What
especially fascinates me are the passion and will to survive
that speak from this music”. As stated above Schulhoff was
the only composer on the disc whose fate was not tied up
with Terezin. As a communist as well as a Jew he was sent
directly to the concentration camp at Würzburg in Bavaria.
This
disc is an absolute must for anyone interested in sampling
music by those whose lives were cruelly cut short by a monstrous
ideology, and who would have made further hugely important
contributions to the music of the 20th century.
All the songs are wonderfully sung by Anne Sofie von Otter
and Christian Gerhaher and accompanied by Bengt Forsberg
and others. This is my nomination for Disc of the Year without
reservation.
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.