Violins of Hope (30 page)

36
.
    
Meyer, “Anscheinend ging nichts ohne Musik,” 143.

37
.
    
Stroumsa,
Violinist in Auschwitz
, 43.

38
.
    
Ibid., 45–46.

39
.
    
Szczepański,
Häftlings-kapelle
, 18.

40
.
    
Laks,
Music of Another World
, 31–32.

41
.
    
Ibid., 33–34.

42
.
    
Goldsmith,
The Inextinguishable Symphony
, 295; Meyer, “Mußte da auch Musik sein,” 34; and Vahl, “‘Die Musik hat mich am Leben erhalten!'” 13.

43
.
    
Goldsmith,
The Inextinguishable Symphony
, 296.

44
.
    
Laks,
Music of Another World
, 37.

45
.
    
Ibid., 38.

46
.
    
Meyer, “Mußte da auch Musik sein,” 35.

47
.
    
Shuldman,
Jazz Survivor
, 37–38.

48
.
    
Stroumsa,
Violinist in Auschwitz
, 49.

49
.
    
Laks,
Music of Another World
, 70.

50
.
    
Meyer, “Anscheinend ging nichts ohne Musik,” 144.

51
.
    
Laks,
Music of Another World
, 99.

52
.
    
Ibid., 112–13.

53
.
    
Ibid., 124.

54
.
    
Rachela Olewski Zelmanowicz, “Crying Is Forbidden Here,” 29.

55
.
    
Shuldman,
Jazz Survivor
, 44.

56
.
    
Ibid., 45.

57
.
    
Schumann,
Der Ghetto-Swinger
, 86.

58
.
    
Wiesel,
Night
, 49–50. The German word
Kommando
has been changed to “work detail.”

59
.
    
Ibid., 95.

60
.
    
Laks,
Music of Another World
, 115.

61
.
    
Levi,
Survival in Auschwitz and The Reawakening
, 50–51. The German abbreviation “Ka-Be” and word “Lager” have been changed to “the infirmary” and “camp,” respectively.

62
.
    
Sachnowitz,
The Story of “Herman der Norweger,”
187.

63
.
    
Vahl, “‘Die Musik hat mich am Leben erhalten!'” 15.

64
.
    
Interview with Freddy Davidovitz, March 10, 2012.

65
.
    
Unless otherwise noted, all quotes in chapter 4 are from Glaser, interview at the Music Academy in Ålesund.

         
Abrahamsen, “The Holocaust in Norway,” 139n67.

66
.
    
Haugen and Cai,
Ole Bull
, 58.

67
.
    
Bull and Crosby,
Ole Bull
, 247

68
.
    
“Ole Bulls fele til Bergen idag,”
Bergens Tidende
, January 16, 1941.

69
.
    
Synnøve Louise Krogness to Alfhild Thallaug Olsen, January 22, 1941, Oslo National Library.

70
.
    
Fasting,
Musikselskabet “Harmonien
,” 16.

71
.
    
“Da nazistene stoppet en konsert i Harmonien,”
Dagen
, January 18, 1946.

72
.
    
Krogness to Olsen, January 22, 1941.

73
.
    
“En beklagelig demonstrasjon,”
Bergens Aftenblad
, January 17, 1941.

74
.
    
Hurum,
Musikken under okkupasjonen
, 61.

75
.
    
Ulstein,
Jødar på flukt
, 185.

76
.
    
Flagstad,
The Flagstad Manuscript
, 139–40.

77
.
    
“Da nazistene stoppet en konsert i Harmonien.”

78
.
    
“Kunstnerparet Glaser,” 1–2.

79
.
    
Ibid., 2.

80
.
    
Unless otherwise noted, all quotes in chapter 5 are from Livnat,
Le-male et ha-zeman be-
ayim
.

         
Carmelly,
Shattered
, 275.

81
.
    
Fisher,
Transnistria
, 97.

82
.
    
Unless otherwise noted, all quotes in chapter 6 are from Gildenman,
Motele
. Spector, “The Jews of Volhynia,” 160.

83
.
    
Suhl,
They Fought Back
, 260.

84
.
    
Ibid., 261.

85
.
    
Leora Eren Frucht, “Breaking the Silence,”
Hadassah Magazine
89, no. 7 (March 2008).

86
.
    
De Vries,
Sonderstab Musik
, 168.

87
.
    
Interview with Nadir Krongold, March 8, 2012.

88
.
    
Szczepański,
Häftlings-kapelle
, 66.

P
ROLOGUE
: A
MNON'S
V
IOLINS

Yitzhak Arad, “Vilna,” in
Encyclopedia of the Holocaust
, ed. Israel Gutman, vol. 4 (New York: Macmillan, 1990), 1571–75; Moses Einhorn, ed.,
Volkovisker Yisker-bukh
(New York, 1949); Elana Estrin, “Did Jews Invent the Violin?,”
Jerusalem Post
, August 20, 2009; Ida Haendel,
Woman with Violin: An Autobiography
(London: Victor Gollancz, 1970); interview with Ida Haendel on October 31, 2012; and Aharon Weiss, “Volkovysk,” in
Encyclopedia Judaica
, 2nd ed., ed. Fred Skolnik and Michael Berenbaum, vol. 20 (New York: Macmillan, 2007), 573–74.

1: T
HE
W
AGNER
V
IOLIN

Music in the Third Reich:

Kurt Baumann, “The Kulturbund—Ghetto and Home,” in
Germans No More: Accounts of Jewish Everyday Life,
1933–1938, ed. Margarete Limberg and Hubert Rübsaat, trans. Alan Nothnagle (New York: Berghahn Books, 2006), 118–27; Berta Geissmar,
Two Worlds of Music
(New York: Da Capo Press, 1975); Martin Goldsmith,
The Inextinguishable Symphony: A True Story of Music and Love in Nazi Germany
(New York: John Wiley & Sons, 2000); Lily E. Hirsch,
A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League
(Ann Arbor: University of Michigan Press, 2010); Michael H. Kater, “Jewish Musicians in the Third Reich: A Tale of Tragedy,” in
The Holocaust's Ghost: Writings on Art, Politics, Law and Education
, ed. F. C. Decoste and Bernard Schwartz (Edmonton: University of Alberta Press, 2000), 75–83; Kater,
The Twisted Muse: Musicians and Their Music in the Third Reich
(New York: Oxford University Press, 1997); Erik Levi,
Music in the Third Reich
(New York: St. Martin's Press, 1994); Nicolas Slonimsky,
Music Since 1900
, 4th ed. (New York: Charles Scribner's Sons, 1971); Kurt Sommerfeld, “Kein Bier für den Juden dahinten!,” in
Premiere und Pogrom: Der Jüdische Kulturbund
1933–1941, ed. Eike Geisel and Henryk M. Broder (Berlin: Siedler Verlag, 1992), 200–209; and Leni Yahil, “Kristallnacht,” in
Encyclopedia of the Holocaust
, vol. 2, 836–40.

Music in Palestine:

Philip V. Bohlman,
“The Land Where Two Streams Flow”: Music in the German-Jewish Community of Israel
(Urbana: University of Illinois Press, 1989); “‘Divine,' Says Huberman: Palestine Symphony Orchestra's Organizer Acclaims Its Debut,”
New York Times
, December 27, 1936; Helmut Goetz,
Bronislaw Huberman and the Unity of Europe
(Rome, 1967); Jehoash Hirshberg,
Music in the Jewish Community of Palestine 1880–1948
:
A Social History
(Oxford: Clarendon Press, 1995); Ida Ibbeken,
An Orchestra Is Born
(Tel Aviv: Yachdav, 1969); Barbara von der Lühe,
Die Musik war unsere Rettung! Die deutschsprachigen Gründungsmitglieder des Palestine Orchestra
(Tübingen: Mohr Siebeck, 1998);
Orchestra of Exiles
, directed by Josh Aronson (New York: First Run Features, 2012), DVD; “Orchestra of Exiles,”
New York Times
, February 9, 1936; Elsa Thalheimer,
Five Years of the Palestine Orchestra
(Tel Aviv: Palestine Orchestra, 1942); Uri [Erich] Toeplitz,
Sipurah shel ha-Tizmoret ha-filharmonit ha-Yisreelit
[The history of the Israel Philharmonic Orchestra] (Tel Aviv: Sifriat Poalim, 1992); “Toscanini to Conduct Concerts of New Orchestra in Palestine,”
New York Times
, February 23, 1936; and documents in the private collection of Amnon Weinstein.

2: E
RICH
W
EININGER'S
V
IOLIN

Austria and Germany:

Yehoshua R. Büchler, “Buchenwald,” in
Encyclopedia of the Holocaust
, vol. 1, 254–56; George Clare,
Last Waltz in Vienna: The Rise and Destruction of a Family, 1842–1942
(New York: Holt, 1989); Paul Cummins,
Dachau Song: The Twentieth-Century Odyssey of Herbert Zipper
, 3rd ed. (New York: Peter Lang, 2001); Barbara Distel, “Dachau,” in
Encyclopedia of the Holocaust
, vol. 1, 339–43; Sarah A. Ogilvie and Scott Miller,
Refuge Denied: The
St. Louis
Passengers and the Holocaust
(Madison: University of Wisconsin Press, 2006); Theron Raines,
Rising to the Light: A Portrait of Bruno Bettelheim
(New York: Alfred A. Knopf, 2002); Hans A. Schmitt,
Quakers and Nazis: Inner Light in Outer Darkness
(Columbia: University of Missouri Press, 1997); and Nina Sutton,
Bettelheim: A Life and a Legacy
, trans. David Sharp (New York: Basic Books, 1996).

Emigration to Palestine:

Joan Campion,
In the Lion's Mouth: Gisi Fleischmann and the Jewish Fight for Survival
(Lanham, MD: University Press of America, 1987); Karl Lenk,
The Mauritius Affair: The Boat People of 1940/41
, trans. and ed. R. S. Lenk (London: Booksprint, 1993); Elena Makarova,
Boarding Pass to Paradise: Peretz Beda Mayer and Fritz Handel
(Jerusalem: Verba, 2005); Munya M. Mardor,
Haganah
, ed. D. R. Elston (New York: New American Library, 1964); Beda and Hannah Mayer, “In the Eye of the Storm,” in
Across the Street and Far Away
, ed. Valerie Arnon (Jerusalem: Verba, 2004), 16–49; Geneviève Pitot,
The Mauritian Shekel: The Story of the Jewish Detainees in Mauritius 1940–1945
, trans. Donna Edouard, ed. Helen Trooper (Lanham, MD: Rowman & Littlefield, 2000); and Aaron Zwergbaum, “Exile in Mauritius,”
Yad Vashem Studies
4 (1960): 191–257.

3: T
HE
A
USCHWITZ
V
IOLIN

Auschwitz:

Jozef Buszko, “Auschwitz,” in
Encyclopedia of the Holocaust
, vol. 1, 107–19; Guido Fackler, “‘We all feel this music is infernal . . .': Music on Command in Auschwitz,” trans. Corinne Granof, in
The Last Expression: Art and Auschwitz
, ed. David Mickenburg, Corinne Granof, and Peter Hayes (Evanston, IL: Northwestern University Press, 2003), 114–25; and Shirli Gilbert, “Fragments of Humanity: Music in Auschwitz,” in
Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps
(Oxford: Oxford University Press, 2005), 144–95.

Auschwitz Main Camp Orchestra:

Emilio Jani,
My Voice Saved Me: Auschwitz 180046
, trans. Timothy Paterson (Milan: Centauro Editrice, 1961); and Ignacy Szczepański,
Häftlings-kapelle
(Warsaw: Książka i Wiedza, 1990).

Birkenau Men's Camp Orchestra:

Goldsmith,
The Inextinguishable Symphony
; Szymon Laks,
Music of Another World
, trans. Chester A. Kisiel (Evanston, IL: Northwestern University Press, 1989); Henry Meyer “Anscheinend ging nichts ohne Musik,” in
Premiere und Pogrom
, 136–45; Henry Meyer, “Mußte da auch Musik sein? Der Weg eines Geigers von Dresden über Auschwitz nach Amerika,” in
Musik im Exil: Folgen des Nazismus für die internationale Musikkultur
(Frankfurt am Main: Fischer Taschenbuch), 29–40; Ken Shuldman,
Jazz Survivor: The Story of Louis Bannet, Horn Player of Auschwitz
(London: Vallentine Mitchell, 2005); Jacques Stroumsa,
Violinist in Auschwitz: From Salonica to Jerusalem 1913–1967
, trans. James Stewart Brice, ed. Erhard Roy Wiehn (Konstanz: Hartung-Gorre, 1996); and Barbara-Maria Vahl, “‘Die Musik hat mich am Leben erhalten!' Henry Meyer, zweiter Geiger des LaSalle Quartet, im Gespräch,” in
Das Orchester: Zeitschrift für Orchesterkultur und Rundfunk-Chorwesen
44, no. 3 (1996): 11–15.