Auschwitz Birkenau Orchestra

The book contains a wealthy collection of actual quotes from the Second World War concentration camps prisoners and their approach to life at that time through music. The Orchestra consisted from three independent prisoners' orchestras that played on the territory of Auschwitz-Birkenau during the Second Word War. The book represents their structure, mechanism of working and experiences of musicians.

This book explores how the women’s orchestra at Auschwitz-Birkenau has been remembered in both media and popular culture since the end of the Second World War. In particular it focuses on Fania Fenelon’s memoir, Playing for Time (1976), which was subsequently adapted into a film. Since then the publication has become a cornerstone of Holocaust remembrance and scholarship. Susan Eischeid therefore investigates whether it deserves such status, and whether such material can ever be considered reliable source material for historians. Using divergent source material gathered by the author, such as interviews with the other surviving members of the orchestra, this Pivot seeks to shed light on this period of women’s history, and questions how we remember the Holocaust today.

In 1943 a women's orchestra was formed at one of the most brutal death camps ever created on the order of German SS officers. Some forty-seven or so young girls who had been sent to Auschwitz-Birkenau from various countries, played in this hotch-potch band of hurriedly assembled instruments. For almost all of them it saved their lives. Although several other camps boasted male orchestras, there was no other female orchestra in any of the camps, prisons or ghettos created by the Nazis. It lasted for little over a year and at its height reached a high level of performance largely thanks to a strict rehearsal timetable of at least ten hours a day insisted on by its conductor, the Austrian violinist, Alma Rosé. In addition to playing when the workers went out in the morning and came back into the camp at the end of the day in a bizarre attempt to keep the weary prisoners in lock step as they tried to march in time to the music, they also performed at a concert at least once every Sunday. Occasionally they were summoned by Nazi officers to give individual performances of a favourite piece of music, purely as entertainment of a perverted kind, perhaps for a birthday. Here is one of the fundamental conundrums at the heart of this story; how was it possible that these most barbaric killers could apparently display genuine emotion on hearing such beautiful music? Even at its height the women's orchestra of Auschwitz was always something of a raggle-taggle mixture of amateurs, staying just one step ahead of their volatile oppressors. They were strengthened by having a few experienced musicians but everyone depended on each other, polished performers and relative beginners, all hoping in their weakened state they could play well enough together to stay alive until liberation. That most of them did reveals the extraordinary determination and reliance on female solidarity required to make the group successful. How and why was the orchestra formed, who were its members and what was its role in Nazi propaganda? Was it aimed at masking the atrocities in the camps or to provide solace to the perpetrators? What was the effect on those who owe their survival to being a part of this project and the inevitable compromises that were made? Can this possibly be described as complicity with the Nazis? These are just some of the tangled questions of deep moral complexity that Anne Sebba will examine as she tells the remarkable story of these women for the first time.

DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div

A son chronicles his Jewish mother’s real-life efforts to save as many young women as possible from the Auschwitz gas chambers during World War II. Arrested in 1943 and deported to Auschwitz, Elsa survived because she had the “opportunity” to join the women’s orchestra. But Elsa kept her story a secret, even from her own family. Indeed, her son would only discover what had happened to his mother many years later, after gradually unearthing her unbelievable story following her premature death, without ever having revealed her secret to anyone . . . Jean-Jacques Felstein was determined to reconstruct Elsa’s life in Birkenau, and would go in search of other orchestra survivors in Germany, Belgium, Poland, Israel, and the United States. The recollections of Hélène, first violin, Violette, third violin, Anita, a cellist, and other musicians, allowed him to rediscover his twenty-year-old mother, lost in the heart of hell. The story unfolds in two intersecting stages: one, contemporary, is that of the investigation, the other is that of Auschwitz and its unimaginable daily life, as told by the musicians. They describe the recitals on which their very survival depended, the incessant rehearsals, the departure in the mornings for the forced labourers to the rhythm of the instruments, the Sunday concerts, and how Mengele pointed out the pieces in the repertoire he wished to listen to in between “selections.” In this remarkable book, Jean-Jacques Felstein follows in his mother’s footsteps and by telling her story, attempts to free her, and himself, from the pain that had been hidden in their family for so long.

This is the true story of Louis Bannet, a Jewish jazz musician known throughout Europe in the 1930's and 40's as The Dutch Louis Armstrong. The story travels from the nightclubs of Amsterdam to the nightmares of Auschwitz, where Louis Bannet's trumpet rang out amidst happiness and horror alike. Jazz Survivor gives strong testimony to both the indisputable power of music and the indefatigable strength of the human spirit.

Translated from the 1948 French edition. A remarkable memoir of the Polish composer Szymon Laks. While interned at the Auschwitz extermination camp, Laks became kappelmeister of the Auschwitz band. With wit and self-detachment, he records the grotesque phenomena of music among the crematoria. Paper edition (unseen), $10.95. Annotation copyrighted by Book News, Inc., Portland, OR