THE ROLE OF MUSIC, PERFORMING ARTISTS AND COMPOSERS IN GERMAN-CONTROLLED CONCENTRATION CAMPS AND GHETTOS DURING WORLD WAR II WILLEM ANDRE TOERIEN
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1 THE ROLE OF MUSIC, PERFORMING ARTISTS AND COMPOSERS IN GERMAN-CONTROLLED CONCENTRATION CAMPS AND GHETTOS DURING WORLD WAR II by WILLEM ANDRE TOERIEN submitted in fulfilment of the requirements for the degree M MUS (Musicology) in the Faculty of Arts UNIVERSITY OF 'PRETORIA Supervisor: DR H H VAN DER MESCHT PRETORIA October 1993 University of Pretoria
2 Krechtst nisht, shrayt nisht, zingt a lid. Don't moan, don't cry, sing a song. Line from a song by Emanuel Hirshberg, an inmate of the Lodz ghetto (Rubin 1963:432)
3 iii ACKNOWLEDGEMENTS I would like to thank the following persons who helped me in one way or another: The help I received from the staff of the libraries of the University of Pretoria, University of South Africa (Pretoria) and the Zionist Federation (Johannesburg) was invaluable. I wish to thank my Study Supervisor, Dr van der Mescht, for his great interest in the topic I decided on, and the hours he spent working with me. My parents deserve special mention for their encouragement, and the hours they put into the editing and proof-reading of my work. The advice they gave was worth a lot to me. I would further like to thank my wife, Yvonne, for the encouragement and help she provided in so many ways, despite her own busy schedule. She was always there to listen to what I had written, and helped me proof-read and type this dissertation. Most of all I need to thank my Heavenly Father who carried me through the period of research. His encouragement brought me through the times of doubt and uncertainty. Pretoria October 1993
4 lv SUMMARY This thesis examines the role of music in the concentration camps and ghettos during World War II. Chapter 2 gives a brief overview of the role of music in general, including its effect on emotions, morale and religion, as well as its uses as propaganda, protest, documentation, entertainment and therapy. Chapter 3 explains the term "concentration camp", and the way in which these camps operated. Subsequently the musical activities in the following concentration camps are discussed in Chapters 4 to 10: Auschwitz (Chapter 4) Belzec (Chapter 5) Bergen-Belsen (Chapter 10) Borgermoor (Chapter 10) Buchenwald (Chapter 6) Budzyn (Chapter 10) Cieszan6w (Chapter 10) Dachau (Chapter 7) Dinaverk (Chapter 10) Dora (Chapter 10) Flossenburg (Chapter 10) Furstengrubbe (Chapter 10) Ganov (Chapter 10) Gleiwitz (Chapter 10) Gross-Rosen (Chapter 10) Kaiserwald (Chapter 10) Lipa (Chapter 10) Majdanek (Chapter 10) Mauthausen (Chapter 10) Mechelen (Chapter 10) Plaszow (Chapter 10)
5 v Ravensbruck (Chapter 10) Sachsenhausen (Chapter 10) Sobibor (Chapter 8) Treblinka (Chapter 9) Westerbork (Chapter 10) Wulzburg (Chapter 10) Chapter 11 introduces the second part of the thesis by defining the term "ghetto", and gives a concise overview of how the ghettos functioned. Chapters 12 to 19 concentrate on the musical activities in the following ghettos: Bedzin (Chapter 19) Bialystok (Chapter 19) Chelm (Chapter 19) Cracow (Chapter 12) Czestochowa (Chapter 19) Kovno (Chapter 13) Libau (Chapter 19) Lodz (Chapter 14) Lublin (Chapter 19) Lvov (Chapter 15) Radom (Chapter 19) Sosnowiec (Chapter 19) Terezin (Chapter 16) Vilna (Chapter 17) Warsaw (Chapter 18) The final chapter draws conclusions arrived at in this study, i.e. that music considerably affected the lives of inmates, serving as a morale-booster, as entertainment for both inmates and camp authorities, and as a means of propaganda. Many songs reflected the inmates' dissatisfaction with the way they were treated, some served as a form of documentation of daily events, while others called for revenge.
6 vi The thesis concludes with a Glossary of terms used and two Appendices, one containing the names of musicians in the concentration camps and ghettos, and the other the titles of works composed in the concentration camps and ghettos.
7 vii OPSOMMING Hierdie verhandeling ondersoek die rol van musiek konsentrasiekampe en ghetto's van die Tweede Wereldoorlog. in die Hoofstuk 2 gee 'n kort oorsig oor die rol van musiek in die algemeen en sy invloed op die emosies, moreel en godsdiens. Dit verwys ook na musiek as 'n middel ten opsigte van propaganda, protes, dokumentasie, vermaak en terapie. Hoofstuk 3 definieer die term "konsentrasiekamp" en verduidelik hoe hierdie kampe gefunksioneer het. Die musiek-aktiwiteite in die konsentrasiekampe word vervolgens in Hoofstukke 4 tot 10 bespreek: Auschwitz (Hoofstuk 4) Belzec (Hoofstuk 5) Bergen-Belsen (Hoofstuk 10) Borgermoor (Hoofstuk 10) Buchenwald (Hoofstuk 6) Budzyn (Hoofstuk 10) Cieszan6w (Hoofstuk 10) Dachau (Hoofstuk 7) Dinaverk (Hoofstuk 10) Dora (Hoofstuk 10) Flossenburg (Hoofstuk 10) Furstengrubbe (Hoofstuk 10) Ganov (Hoofstuk 10) Gleiwitz (Hoofstuk 10) Gross-Rosen (Hoofstuk 10) Kaiserwald (Hoofstuk 10) Lipa (Hoofstuk 10) Majdanek (Hoofstuk 10) Mauthausen (Hoofstuk 10) Mechelen (Hoofstuk 10) Plaszow (Hoofstuk 10)
8 ii stuk 10) S s 10) Sob (Hoofstuk 8) Trebl tuk 9) Westerbork (Hoofstuk 10) Wul s 10) Hoofstuk 11 lei d deel van d verhandel in met 'n uiteensetting van die term " to" en d d to's gefunks r het. s 12 tot 19 is ts op die musiek-akt iteite in vol to's: Bedzin (Hoofstuk 19) Bi tok (Hoofstuk 19) Chelm (Hoofs 19) Cracow (Hoofstuk 12) Czestochowa ( stuk 19) Kovno (Hoofs 13) (Hoofs 19 ) Lodz (Hoofstuk 14) Lubl (Hoofstuk 19) Lvov (Hoofstuk 15) Radom (Hoofstuk 19) (Hoofs 19) Terez (Hoofstuk 16) vi (Hoofstuk 17) Warsaw (Hoofstuk 18) Die laaste hoof d van e s e, ik, musiek lewens van ttobewoners aanmerklik oed het, meer as om moreel te versterk, as vorm van inwoners en en as Baie van 1 se met hulle is,
9 lx sekeres dien, as dokumentasie van die daaglikse gebeure en nog ander om wraak roep. Die verhandeling sluit af met 'n Woordelys van gebruikte terme en twee Bylaes, een waarvan die name van musici in die kampe en ghetto's bevat en die ander die titels van werke wat in die kampe en ghetto's gekomponeer is.
10 - x LIST OF FIGURES Figure 1: Map of Europe showing the locations of concentration camps 18 Figure 2: Map of Auschwitz II (Birkenau) 21 Figure 3: Map of Europe showing the locations of ghettos 66 Figure 4: Example of a programme of a music concert organised by the Studio fur neue Musik 112 Figure 5: Map of the Terezin ghetto 114 Figure 6 : Poster advertising Brundibar 118 Figure 7: Example of a programme of a chamber music concert 122 Figure 8: Poster advertising Karel Svenk's cabaret Long Live Life 125 Figure 9: Map of the Warsaw ghetto 139 Figure 10: Map of Europe showing the General-Government area 169 LIST OF MUSIC EXAMPLES Example 1 : Moorsoldaten 52 Example 2 : Es Brent 73 Example 3: Minutn fun Bitokhn 73 Example 4: Song composed by Dawid Bajgelman 91 Example 5: Rumkowski, Chaim 93 Example 6 : Rifkele di Shabesdike 152
11 xi CONTENTS ACKNOWLEDGEMENTS iii SUMMARY iv OPSOMMING vii LIST OF FIGURES x LIST OF MUSIC EXAMPLES x 1 INTRODUCTION 1.1 Motivation for the study 1.2 Object of the study 1.3 Methods of research 1.4 Problems pertaining to the study 1.5 Division of chapters THE ROLE OF MUSIC 2.1 The influence of music on emotions 2.2 The influence of music on morale 2.3 The influence of music on religion 2.4 Music used as a means of propaganda 2.5 Music used for documentation 2.6 The role of music as entertainment 2.7 The role of music as therapy and protest CONCENTRATION CAMPS 3.1 Genesis 3.2 Organisation of life in the camps AUSCHWITZ CONCENTRATION CAMPS Musical activities in Auschwitz I
12 xii Musical activities in Auschwitz II (Birkenau) BELZEC CONCENTRATION CAMP Musical activities in Belzec BUCHENWALD CONCENTRATION CAMP Musical activities in Buchenwald DACHAU CONCENTRATION CAMP Musical activities in Dachau SOBIBOR CONCENTRATION CAMP Musical activities in Sobibor TREBLINKA CONCENTRATION CAMP Musical activities in Treblinka OTHER CONCENTRATION CAMPS Bergen-Belsen B6rgermoor Cieszan6w Dinaverk Dora Flossenburg Gleiwitz
13 xiii Kaiserwald Mechelen Plaszow Sachsenhausen Westerbork Additional concentration camps GHETTOS Genesis Organisation of life in the ghettos CRACOW GHETTO Musical activities in Cracow ghetto KOVNO GHETTO Musical activities in Kovno ghetto The last years of the ghetto LODZ GHETTO Initial musical activities Musical activities under the House of Culture The professional stage The amateur stage Youth entertainment Domestic entertainment Street entertainment Decline of cultural activities
14 xiv 15 LVOV GHETTO AND ITS LABOUR CAMP, JANOWSKA Musical activities in the Lvov ghetto Musical activities in the labour camp Janowska TEREZIN (THERESIENSTADT) GHETTO The organisation of life and cultural activities The organisation of musical activities Pre-fall 1944 musical activities Vocal music Instrumental music Lighter musical activities Composers Other pre-fall 1944 musical activities Musical activities from Fall 1944 until the liberation of the ghetto Aftermath VILNA GHETTO Background to cultural activities Musical activities in Vilna ghetto WARSAW GHETTO The establishment and progress of cultural and musical activities Satirical songs
15 xv 19 OTHER GHETTOS Bedzin Bialystok Chelm Czestochowa Libau Lublin Radom Sosnowiec CONCLUSION 157 LIST OF SOURCES 163 GLOSSARY 1 68 APPENDIX A: MUSICIANS IN THE CONCENTRATION CAMPS AND GHETTOS 171 APPENDIX B: WORKS COMPOSED IN THE CONCENTRATION CAMPS AND GHETTOS 177
THE ROLE OF MUSIC, PERFORMING ARTISTS AND COMPOSERS IN GERMAN-CONTROLLED CONCENTRATION CAMPS AND GHETTOS DURING WORLD WAR II WILLEM ANDRE TOERIEN
THE ROLE OF MUSIC, PERFORMING ARTISTS AND COMPOSERS IN GERMAN-CONTROLLED CONCENTRATION CAMPS AND GHETTOS DURING WORLD WAR II by WILLEM ANDRE TOERIEN submitted in fulfilment of the requirements for the
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