Giving Voice to a Foxtrot from Auschwitz-Birkenau
Bibliographic Data
| ID | 15006264 |
|---|---|
| Authors | Patricia Hall (0000-0002-5553-9893, University of Michigan, corresponding author) |
| Year | 2021 |
| Volume | 27 |
| Issue | 3 |
| Publication date | 2021-09-01 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Music Theory Online (JOURNAL) |
| Journal identifiers | ISSN: 1067-3040 • E-ISSN: 1067-3040 |
| Publisher | Society for Music Theory (PUBLISHER • US) |
| DOI | 10.30535/mto.27.3.9 |
| OpenAlex | W3212643101 |
| Language | EN |
| References cited | 4 |
The Collections Department of the Auschwitz-Birkenau State Museum preserves a number of manuscripts of popular songs arranged by members of the Auschwitz I Men’s Orchestra. These songs, written with great care in black ink on Beethoven Papier brand music paper, often bear highly ironic, but also tragically relevant titles, such as “Letters That Never Arrived,” “Hours That One Can Never Forget,” “Sing a Song When You’re Sad.” In this article I describe the complex process of realizing a 2018 concert performance and recording of one of these songs, “Die schönste Zeit des Lebens” (The Most Beautiful Time of Life), based on a manuscript deposited in the Auschwitz-Birkenau State Museum in 1975. Originally a 1941 popular song composed by the German film composer Franz Grothe with a text by Willi Dehmel, and scored for a jazz ensemble, it was arranged by the Auschwitz I prisoners for four first violins, five second violins, a viola, two clarinets, a trombone and a tuba. Through this dramatic change in orchestration, errors were occasionally introduced; in this article, I detail the analytical processes involved in correcting these errors and making “micro-interventions” in the score
Art · Art history · Jazz · Literature · Musical · Orchestration · Performance art · Viola · Violin · Visual arts · German History and Society · Musicology and Musical Analysis
| Highly cited | No |
|---|