Suchergebnisse

Jascha Nemtsov stellt in seiner Monographie Doppelt vertrieben jüdische Komponisten aus dem osteuropäischen deutschsprachigen Kulturraum vor, die eine doppelte Vertreibung erleben mussten: Zunächst wurden sie in der Nazi-Zeit als Juden aus der deutschen Kultur verdrängt, danach verloren sie - wie andere Deutsche auch - im östlichen Europa der Nachkriegszeit endgültig ihre Heimat. Viele deutsch-jüdische Komponisten konnten hingegen der nationalsozialistischen Herrschaft durch die Flucht nach Palästina entkommen und leisteten später einen wichtigen Beitrag zur israelischen Musik. Komponisten wie

Despite the civil war and pogroms between 1918 and 1921, Kiev advanced to one of the most important centres of Jewish culture in Eastern Europe. While the work of Yiddish writers and avant-garde painters of the Jewish Kulturliga are widely known, Jewish music culture has gone unnoticed to this day. The music section of the Kulturliga included a music school, a singing ensemble, and a seminar for music teachers and choir directors. Adapted from the source document.

There is an extensive international literature about composers persecuted by the Nazi regime. By contrast, musicology has so far ignored composers in the Gulag. The widespread assumption that musicians were not persecuted under Stalin is a myth. Even among composers, there were many victims. Two fates serve as examples: that of Aleksandr Veprik, a protagonist of the national Jewish school in Russia, & that of Vsevolod Zaderatskii, one of the most important representatives of Russian modern music. Adapted from the source document.

In November 1933, the music association of the German Reich, the Reichsmusikkammer, was founded. Jewish musicians were refused membership and were banned from the profession. Some eminent Jewish composers were deported to Terezin, a concentration camp near Prague, where they developed a rich and unique cultural life. While the Nazis used Terezin for propagandistic purposes, the prisoners could find there a temporary relief from the horrible daily life and a way to preserve human dignity. Like most of the Jewish composers in Central Europe, the Terezin composers were not much aware of their Jewish identity prior to their persecution. However, the restrictive measures of the Nazis led to a separate, artificially concentrated Jewish musical culture. While the musical language of these composers before and during the Terezin years remained unchanged, the experience in the camp molded their works in a different way-the symbolic and metaphoric content and the emotional expression of those works were greatly stimulated by the impressions of this horrible experience. Over 50 years after the destruction of the German-Jewish symbiosis, a posthumous chapter is to be added. The new German generation shows a strong interest in the investigation and revival of the exterminated Jewish culture.