posted May 2001
Newsletter No. 2, May 2001

1. Introduction  

This is the first e-Newsletter of the International Forum for Suppressed Music (IFSM), giving information of concerts, broadcasts, conferences, publications and other matters to do with music suppressed by the Third Reich and other totalitarian regimes. You have received this as either you have asked to subscribe, or because our committee felt you would be interested in this whole area of music that is now being addressed with increasing intensity worldwide.

The IFSM was established in 1999 by the Jewish Music Institute (JMI) at SOAS University of London. The President is Sir Simon Rattle and the Executive Committee includes Michael Haas, Executive Producer for the Decca series 'Entartete Musik', Erik Levi, author of 'Music in the Third Reich' and Martin Anderson, journalist, writer and publisher. Members of the Advisory Board include Christopher Hailey of the Schreker Foundation LA, and the Schoenberg Institut Vienna and Albrecht Dümling of Musica Reanimata Berlin.

The IFSM extends an invitation to you to join with us in two ways: If you would like to receive this quarterly newsletter, you need do nothing more and the next one will come to you in due course. We welcome feedback from the newsletter and our Editorial Board will consider submissions for future editions. If you would like to join an interactive mailing list, which is shortly to be set up, where you will also have the opportunity of asking questions, contributing to the general knowledge and informing the group of activities that you are promoting or know about, then please email us and put 'subscribe to interactive list' in the Subject space or in the body of the email, and tell us something about yourself. Already many musicologists, conductors, festival administrators, critics, librarians, writers, singers, composers and journalists from all over the world have signed up for this interactive list and we envisage a very useful (and busy) platform for sharing information.

If you would prefer not be mailed at all, please just email us and ask to be removed. Equally, if you know someone else who might like to receive this newsletter, please feel free to forward this to them or introduce us to them. (The newsletter will both be dropped into your email and attached as a Word Document, which may be a little easier to read). We hope you will find this interesting.
Geraldine Auerbach MBE, Director Jewish Music Institute

The International Forum for Suppressed Music is interested in receiving articles of original research, reviews of books, articles and recordings and information on concerts, broadcasts, recordings or publications, for future issues, please send abstracts/information to IFSM Editorial Board contact

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2. Message from President Sir Simon Rattle

With this newsletter we now have for the first time in the English language a directory and information service about the many composers whose works have been lost through political tyranny. Those of us interested in the field also now have a means of communication with each other, sharing our knowledge and experience. It is hoped that as we become more acquainted with them, the works by these composers, who contributed so much to the development of 20th century music, will continue to enter the mainstream of musical life around the world today. I wish good luck to this initiative and the work of the JMI International Forum for Suppressed Music.
Simon Rattle, President, JMI International Forum for Suppressed Music

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3. First British performance of Maschinist Hopkins and other IFSM performances 2001

Maschinist Hopkins an opera in 3 Acts, written in 1929, with a powerful text by the composer was written in a period, which saw an unprecedented number of new operas staged in Germany. Krenek's "Jonny Spielt Auf" took Europe by storm as people heard the first opera with a contemporary setting, based on contemporary people. The success of "Jonny" was repeated soon thereafter with Max Brand's "Maschinist Hopkins", a work that matched "Jonny"'s success with 40 different productions in one year alone. The work's contemporary metropolitan setting and 'American' characters were much in vogue. Brand's theme — the relationship between humanity and technology — was familiar through such works as Fritz Lang's film Metropolis (1926) and was the focus of experiments at the Bauhaus. Brand, like Krenek, Weill and Hindemith, advocated a regeneration of opera by using the most characteristic features of the day. Posing social and humanitarian questions in a combination of thriller and romance, Brand presents events cinematically, using colourful orchestration to enhance the emotional impact of the drama, fully exploiting the stylistic palette of his day. The opera is being presented by Cambridge University Opera Society in collaboration with Baker's Opera, and the Cambridge University Opera Orchestra conducted by Peter Tregear. Barry Humphries (better known as 'Dame Edna') who has a strong personal interest in this music has agreed to be a Patron of this special day. Tickets will be available from September from the Box office 020 7960 4242 or book online at www.sbc.org.uk

The Day's programme includes an introduction by Michael Haas to the composers featured such as, Korngold, Gal, Schreker, Bittner, Zemlinsky, Webern, Wellesz, Weigl, Eisler and others. There will be a lieder recital, a chamber concert by the world renowned Vienna Piano Trio, a concert by the Yehudi Menuhin School Orchestra and chamber groups, featuring Yaltah Menuhin (in honour of her 80th birthday). This day will be one of the highlights of a Festival, Vienna/Berlin/London — Trails of Creativity, 1918–1938 being mounted by the Austrian Cultural Institute this autumn.
For more details of this Festival see
www.austria.org.uk/culture.
Please see the very detailed and interesting website
http://www.cam.ac.uk/societies/cuops/hopkins/ for information about the synopsis of the opera, the staging, the production team and even to hear some sound samples.

Other IFSM concerts this year:

This concert is part of the Hampstead and Highgate Festival and features the Andrusier Ensemble who performed outstandingly last year, in the 10th London International Jewish Music Festival. This is a modification of a concert first produced in the IFSM International Conference 'Thwarted Voices' at St John's Smith Square last July. Barry Millington, music critic for The Times and reviews editor of BBC Music Magazine who heard this programme, immediately engaged the Andrusier Ensemble for the Hampstead and Highgate Festival of which he is Artistic Director. The ensemble under the direction of Tamar Andrusier is dedicated to featuring the music of composers whose lives were disrupted by the Holocaust, particularly composers who spent time in Terezín and were killed in Auschwitz, such as Victor Ullman, Pavel Haas, Hans Krasa and Gideon Klein. In fact, those who were present or watched the BBC 2 Holocaust Commemoration will have seen the Andrusier Ensemble exquisitely performing the slow movement from Gideon Klein's String Trio, which is also in the programme of this concert. The concert fittingly takes place in the Belsize Square Synagogue, 51 Belsize Square, NW3, a community set up by refugees from Central Europe in 1938.

Tickets: Hampstead and Highgate Festival. 020 8864 6816

Past concerts promoted this year by the IFSM:

15 February, LJCC, London NW3
Berlin and Paris Cabaret: Alexandra Valavelska vocals, Mathrew Freeman piano.

25 March, LJCC, London NW3
A celebration of the life of Berthold Goldschmidt
Helen Lawrence, soprano, William Hancox, piano, Bernard Keeffe, speaker

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4. Publications:

Works in progress:

Berthold Goldschmidt
The IFSM is collaborating with Toccata Press on a series of publications examining the musical scene that was disrupted by the Nazis' accession to power. The first of these books, a symposium on the life and music of Berthold Goldschmidt will be published in 2003 to mark the Goldschmidt centenary. Many further titles are already under discussion, both to publish original research and to make available, in English, contemporary documentation and source material as well as more recent scholarship. For details and catalogue of Toccata Press see:
www.drakeint.co.uk/toccata-press/index.htm

Franz Schreker as composition teacher
It is proposed to adapt and expand some of the papers given at the International Conference 'Thwarted Voices the Berlin composition class of Franz Schreker' held at SOAS, University of London, in July 2000, into a book entitled 'Franz Schreker as composition teacher'. The focus of the book, being edited by Erik Levi, of Royal Holloway University of London, will be to examine Schreker's teaching and the achievements of the astonishing variety of talented composers and musicians (for example Goldschmidt, Krenek, Brand, Haba, Rathaus, Horenstein, Petyrek, von Zieritz) who studied with him, both in Vienna and Berlin, the majority of whom were subjected to censorship through the rise of Nazism. A team of internationally recognised scholars is being invited to contribute chapters to this significant book.

New Publications:

Theatre under the Nazis
edited by John London, Manchester University Press/Palgrave, Manchester, New York 2000
ISBN 0 7190 5912 hardback 0 7190 5991 7 paperback
This important book offers one of the most thorough explorations of theatre activities during the Third Reich in the English language. Of its six substantial chapters, two (Opera in the Nazi period by Erik Levi; Jewish theatre: repertory and censorship in the Jüdischer Kulturbund, Berlin by Rebecca Rovit) may be of particular interest to the IFSM. The book also boasts an invaluable 50 page bibliography detailing archives, newspapers and most secondary sources that are relevant to the period.

Music Publishing and Patronage: C.F. Peters: 1800 to the Holocaust
Irene Lawford-Hinrichsen, Foreword by Yehudi Menuhin OM. KBE. Edition Press ISBN 0 9536112 0 5
This book is about the history of 'Edition Peters' Music Publishers in Leipzig, founded in 1800. The social and political life of the times is described in relation to the generous patronage offered by the owners and their family — which includes the founding of the first Women's College in Germany. An important aspect of the book is the 'Aryanization' of the company, and the persecution and murder, in Nazi Germany, of its owner. Henri Hinrichsen.

"ÉThis powerful story is told comprehensively in this excellent book; and it also reveals many characters in the music world, including Max Reger, Edvard Grieg, Gustav Mahler, Arnold Schönberg, Sigfrid Karg-Elert and Karl StraubeÉ/... It tells of the growth of a family business into a world leader, and how such a firm was all but toppled in the most savage of periods in the last millennium." Simon Fitzgerald. 'The Organ' May–July 2000.

To purchase this particular book, email or fax +44 20 8909 1030 your name, address, visa or mastercard no, for £25 GBP and it will be sent to you post free.

Articles:

'Dancing with the Devil: Publishing Modern Music in the Third Reich'
by Kim H. Kowalke in the journal Modernism Volume 8, No. 1, pp. 1–41
The John Hopkins University Press, 2001
A fascinating and illuminating appraisal of the highly compromised activities of Schott and Universal Edition , the two leading Austro-German publishers of contemporary music during the Third Reich.

Also you may be interested in the recent publication (Paris, Edition Complexe email: complexe.eco[at]wanadoo.fr, April 2001): "La vie musicale sous Vichy", ed. Myriam Chimenes?

For future issues of the newsletter IFSM invites those interested to submit reviews of relevant material, either printed or recorded. Please email your reviews to our editorial team: contact

To purchase any of these books email jmduk[at]hotmail.com with your requirements and they will email you back with the prices, availability and methods of payments

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5. Goldschmidt Centenary in 2003

The year 2003 is the centenary of Berthold Goldschmidt (born 18 January 1903), giving the opportunity to review and reappraise the life and works of this important composer.

Goldschmidt's output spans virtually the whole of the 20th century, from the early Passacaglia, written in 1925 when he still a pupil of Franz Schreker at the Berlin Hochschule, to his final work, the valedictory Deux nocturnes for soprano and orchestra, completed in London in 1996 at the age of 93. The story of how he fled Nazi Germany for London in the 1930s where he worked in virtual obscurity until a remarkable flowering of interest in the 1980s and 90s is undoubtedly one of the most striking events in late twentieth century musical history. His output includes works in all the major genres including two operas, orchestral works, concertos, vocal music with orchestra and piano, four fine string quartets and a host of pieces for smaller combinations.

For further information on Goldschmidt and his works, please visit the Boosey & Hawkes website www.boosey.com or contact Lloyd Moore on Tel: + 44 20 7291 7229, or email at lloyd.moore[at]boosey.com for a copy of the new Goldschmidt brochure (available June 2001).

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6. 'Exile and Suppressed Music' in 20th Century Music
Conference, Goldsmith's College, University of London, Thursday 28 June 14.30–16.15

There will be a special session devoted to 'Exile and Suppressed Music at the conference on 20th Century music at Goldsmith's College, University of London, this summer. Michael Haas will chair the session, which will be held on June 28th in the afternoon. Speakers will include Erik Levi on the Nazi suppression of modernism in Germany, Ales Brezina on Martinu living between two totalitarian states and Matthias Wurz on Tintner and Kapralova. Further details from Matthias Wurz matthias_wurz[at]hotmail.com or view the timetable on:
http://musicinfo.gold.ac.uk/music/26Febtimetable.pdf

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7. Come to the Viktor Ullmann Homepage

The new website www.come.to/ullmann is intended to make available a comprehensive selection of information about the life and music of the composer Viktor Ullmann (1898–1944). As a former pupil of Arnold Schoenberg he played a prominent role in the music life of Prague and later Terezín, acting as composer, teacher, pianist, conductor and critic. Especially in the concentration camp of Terezín he wrote an amazing number of masterpieces (1942–1944), including his opera 'The Emperor of Atlantis' and touching chamber music. Only in the late 1970s were his works rediscovered and fortunately his music has seen a renaissance in the past decade.

At www.come.to/ullmann you can browse through the 'time frame 1898–1944', which is complemented by Ullmann's biography. Furthermore, a detailed list indicates his works and a map illustrates his trips through Europe. In addition, a selection of essays is available online, as well as a bibliography and a discography. You may also find a range of related links, FAQ (frequently asked questions) and online music concerning Viktor Ullmann. If you want to contribute to the Viktor Ullmann Homepage, e.g. by indicating future events or reviewing past concerts or talks, please contact Michael Wiener (michael_wiener[at]web.de).

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8. 'Entartete Musik' Exhibition in London available for hire

An extensive exhibition entitled 'Banned by the Nazis: Entartete Musik' is now housed by the IFSM in the UK. This exhibition is an English language version of the Exhibition recreated and mounted in Düsseldorf in 1988 — fifty years after the infamous exhibition of that name was mounted by Hitler's forces in that city in May 1938. Most of the material of the Nazi exhibition was lost, but the research and artistry of the two curators Albrecht Dümling and Peter Girth pieced together the terrible vandalism of that time, and pointed to what may have been lost forever. The new exhibition consists of the following sections: Introduction, Spiritual Forebears, Salvation through Unification, The Reconstruction, Music and Race, German Music: The Nazi Ideal, The Defamed, Reaction, Resistance.

Video and sound installations, catalogues in German (279 pages), English (48 pages) and Spanish/Catalan, documents for up to 30 display cases, a documentation of sound (4 CDs; with booklets in German, English and Japanese) and the 80 minute film "Verbotene Klänge. Musik unter dem Hakenkreuz", that was especially produced for that purpose, complete the exhibition.

The 44 panels were produced in English for showing in Los Angeles in 1991 and afterwards travelled to the Bard Music Festival New York (1992), the Brandeis University Boston (1994), the Royal Festival Hall London (1995/96) and the Festival of Suppressed Music in Barcelona (November 2000).

These panels are now stored in Britain and are available for hire or loan where appropriate. Please contact the Jewish Music Institute SOAS at the address below if you are interested to show this valuable resource. email

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9. IFSM Oral History Archives Project

JMI International Forum for Suppressed Music has embarked on a series of interviews with composers and musicians of the period, or their families. Michael Haas and Betty Collick went to visit the well known Czech conductor and composer Vilem Tauskym now 93, and were able to document some valuable information on the Czech composers Pavel Haas, Erwin Schulhoff, Gideon Klein and Kapralova, all of whom Mr Tausky knew intimately. Indeed, Klein had been the 'little boy across the street whom we all thought was a genius because he would only read dictionaries.' His enthusiasm at the world's rediscovery of these composers was tangible. He had been the assistant on Schullhof's premiere of "Flammen", an opera recorded by Decca's "Entartete Musik" series. Like Pavel Haas, he had studied with Janacek and while in Paris, had met both Martinu and Kapralova. It seemed clear that after the war and murder of an entire nation's principle talent, he had never hoped or thought possible that these voices could be heard again.

The IFSM is interested in conserving in our library archives, scores and documents relating to composers and musicians whose music was suppressed and who were forced to leave Central Europe and re-establish their careers in the UK or elsewhere. We are also seeing that more surviving musicians (or their relatives) are interviewed and their memories encapsulated for future generations. If you know someone who fits into that category that we should interview, or that you could interview, or if you know of documents and archive material that need a proper home, please telephone the JMI International Forum for Suppressed Music on +44 (0)20 8909 2445 or email contact with the details.

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10. 'Music in Exile' theme at the BBC Proms Royal Albert Hall, London

One of the themes chosen for this year's season of BBC Proms (20 July–15 September) is 'Music in Exile'. The composers featured are Bartók, Britten, Dvorák, Enescu, Ligeti, Martinu, Pärt, Prokofiev, Rachmaninov, Schoenberg and Stravinsky. There will be Weill's Royal Palace on the 2nd August — this will be only its second performance in the UK and there is some film music by Korngold.

It is encouraging that such a prominent Festival should open the door to examining works of composers who were forced to leave their homelands and their developing careers and were who able to continue composing in a different milieu. We feel sure that other festivals will follow this example and perhaps look a little further at the many highly regarded and popular composers of their day, whom history forced off the beaten track altogether. For suggestions of repertoire for Festivals and performances,contact the International Forum for Suppressed Music and Michael Haas and Erik Levi, Martin Anderson and Lloyd Moore will be happy to make suggestions.

Full details of The Proms programmes and booking information can be found online at www.bbc.co.uk/proms.

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Noa Lachman will be able to supply recordings of suppressed music, including the nearly 30 Decca recordings, produced by Michael Haas, to any destination world wide. If you know what you would like just email jmduk[at]hotmail.com with your requests. Soon there will be listings of recordings available on the JMD pages on the JMI Website www.jmi.org.uk/jmd . If you have any recordings that you would like add to the JMD list, please email JMD as above.

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12. 'Musica Prohibida': a Festival of 'Entartete Musik' in Barcelona, November 2000
Report by Michael Haas, Executive Producer of Decca Records' 'Entartete Musik' series.

When asked to be artistic advisor on a two week Festival of concerts, lectures and an exhibition of 'Entartete Musik': 'Musica Prohibida' in Barcelona by conductor Lawrence Foster and Intendant Abili Fort, I was surprised that a country rediscovering its own identity should be interested in examining a part of European history which had passed them by. After all, the artistic agenda of the Barcelona orchestra was rediscovering its own enormous pool of Catalan compositional talent. To examine music banned by the Nazis seemed a departure of little or no relevance to the Catalans. This was before I realised that the Catalans are eager to be seen as being good Europeans. This means examining the history of what they see as the 'mainland' or 'continent'.

The concerts were chosen with the following themes: Berlin/Vienna; Hollywood exile; Prague, and Franz Schreker and his composition class. The first two were orchestral concerts and included Berg, Schreker, Weill and Hindemith. It was significant that both halves of the concert included non-Jewish composers. It was important to realise the politics of hate, extended to what was called "Jewish contamination" of Aryan composers. The Hollywood exile concert was a mixture of composers who were successes and those who were Hollywood "failures": It started with myself narrating the Survivor from Warsaw, by Schoenberg, followed by Ernst Toch's superb piano concerto. With Toch and Schoenberg, we were able to show that Californian exile was not the paradise that many thought it. The second half went to the central Europeans who shaped Hollywood film music and gave it the identity we all recognise today: Korngold, Waxman, Kaper and Ernst Gold. The chamber music concerts were all preceded with a discussion forum headed by Dr Jose Luis Vidal and myself. The Prague concert consisted of the now familiar string quartets of Krasa, Haas and Schulhoff. I included Martinu as well as he is the only one of the group of Czech composers to have survived.

The City of Barcelona also found the means to take the English translation of the reconstructed 'Entartete Musik' exhibition of Düsseldorf from 1938 and translate it again in Catalan and Spanish. They mounted it in their magnificent Municiple Auditorium foyer. Albrecht Dümling, who with Peter Girth, had reconstructed the exhibition from the remnants of the original, and then had it translated into English for a much smaller festival in Los Angeles, (also accompanied by concerts conducted by Lawrence Foster) provided additional glass display cases with documentation to accompany the 150 running meters of panels. The catalogue for the exhibition was well reproduced with choice articles chosen by myself, translated into Spanish and Catalan. Albrecht Dümling uses the glass cases and accompanying documentation to tailor the exhibition for wherever it ends up being mounted. In this case, he had a number of resistance propaganda song books printed in Barcelona in 1939, as well as documentation on a German language, anti-Nazi propaganda radio station, also based in Barcelona. The question begging to be asked was how the Spanish fascists, quite sympathetic to Hitler, could have allowed these activities. The answers varied, but it remains a minor miracle that though Spain seemed outside the European mainstream in the Hitler years, it was able, via the brave efforts of individuals, to contribute to the Nazi resistance.

The 'Composition class of Schreker' concert was a rerun of the successful concert put on earlier by the International Forum for Suppressed Music at its conference at the School of Oriental and African Studies, University of London in the summer of 2000. Again, sharply making the point of trying to show how music might have gone had the brilliant composition class of Schreker been allowed to grow and develop. The concerts and pre-concert talks even had more people in attendance than in similar events elsewhere.

After two weeks of endless press conferences, interviews, television and radio coverage, I realised that the examination of German music banned by the Third Reich was a cathartic experience for the Spaniards. As they begin to join the club of modern democracies, (and most people still have vivid memories of Franco), they need to examine the damage done elsewhere before starting the painful excavation of their own 20th century musical heritage. A festival such as this, only paved the way. Somehow, I think we'll see a festival of music banned by Franco's dictatorship sooner rather than later.

IFSM now has the English language version of the 'Entartete Musik' exhibition of Düsseldorf of 1988 and it is available for loan. Michael Haas is available as Consultant to help plan similar Festivals elsewhere.

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13. Conference, Charlottesville, Virginia, USA March 2001
Report by Michael Haas and Erik Levi

'Music suppressed by the Third Reich' International Conference: University of Virginia (UVA), Charlottesville, March 2001

'When dealing with under-grads, keep plan B handy' was the friendly warning that more experienced academics would mutter when surveying the ambitions of the young Benjamin Levy, a fourth-year arts student at the University of Virginia who had managed to put together an international conference on no less a subject than 'Entartete Musik'. Yet any qualms about Mr Levy's capacity to organise such an event were quickly dispelled, and one was very impressed that so much diversity of subject matter had been packed into a highly stimulating two-day event.

Even veterans of Oxbridge who know something about a lovely campus would have been astonished at the perfection of Thomas Jefferson's design of UVA's quad, called The Lawn. The conference, which was held as part of Charlottesville's Book Fair, took place in several locations and we had by necessity to move from one historic building to another. The opening on Friday afternoon at the "Rotunda" was introduced by Mr Levy who expounded on his wholehearted enthusiasm and commitment to the repertory that had been suppressed by the Nazis. There followed a presentation by Michael Haas on the recording series "Entartete Musik". Although he has spoken on dozens of related subjects, he has never talked about the recording series. This gave him a useful opportunity to take a retrospective look at what Decca accomplished and what it still has to do. It also provided the conference with a useful background to the subject. After all, it's impossible to talk about the thirty-odd completed recordings without having to explain circumstances as to why certain works were chosen over others.

After Michael Haas's presentation, there followed a short talk by Mark Ludwig, the violist from the Boston Symphony Orchestra. Mr Ludwig, a member of the Hawthorne Quartet, which participates in two of Decca's 'Entartete Musik' CDs, is one of the first musicians of exceptionally high calibre to have undertaken a serious exploration of the music composed in Theresienstadt. It was fortunate indeed that Mr Ludwig was able to bring the other members of the Hawthorne Quartet to the conference, for their playing, as heard in two presentations was stunning in its sheer virtuosity. Like so many areas of 'marginal repertoire', "Entartete Musik" has had to put up with more than its fair share of second-rate, well-meaning performers who find their niche in unfamiliar music. Yet the Hawthorne's playing was technically so vibrant and musically insightful that Viktor Ullmann's Third Quartet came across as a true masterpiece of the 20th century, regardless of the circumstances of its composition. Indeed this was also the case with all of the works we heard performed. Not only the Hawthorne Quartet, but an array of other young talented artists were equally persuasive in other performances of a wide variety of works.

Erik Levi's presentation 'Exiled Composer in the UK' in the later afternoon provided one of the few opportunities in the conference to place into context the reactions of the so-called 'good guys' between 1933 and 1945. He was able to paint a picture of life in Britain that was far from perfect for many of its German and central European refugees, emphasising the point that while the Nazis were barbaric, the reactions of those from other countries were not necessarily sympathetic to the plight of the oppressed.

Bret Werb from the American Holocaust Museum made an interesting presentation on the Yiddish activist ghetto poet from Poland, Smerke Kaczerginski. This was music that was unfamiliar, though to some of the Americans of Yiddish decent, it seemed well regarded. The participants left with his propaganda songs well lodged in their brains, despite some dubious -sounding historic performances. So far, nobody has satisfactorily answered the question as to how music can be read from left to right with the Yiddish text set right to left.

One of the most provocative talks was the presentation made by Gottfried Wagner on his great-grandfather and more importantly, on his parents, and grandparents. Again, one was alarmed that two of the most inspirational figures of the Nazi movement, Winifred Wagner and Houston Stewart Chamberlain, daughter in-law and son in-law to Richard Wagner, were of British descent. Gottfried's guilt and sense of grief at his family's contribution to the cultural justification of anti-Semitism was overwhelming. He was balanced by Abraham Peck, Director of Post-Holocaust Judaic and Christian studies at the University of Southern Maine, who was able to expound on the difficult experience faced by post-war generations of victims and perpetrators.

Saturday kicked off with Susan Cook, professor at the University of Wisconsin, on the popular dance in the Zeitoper placing special emphasis on the works of Kurt Weill, Ernst Krenek and Friedrich Holländer. It was a pity that there wasn't a longer presentation from this distinguished academic, but for some reason, Michael Haas found himself buttonholed to try and get a discussion going. This was a shame as frankly, nothing that he could say, or indeed was said by the public was as interesting as Susan's talkÉwe wished she had carried on. There followed a short yet unsatisfactory recital of some of Weill's songs. The composer's cause was much better served later in the day with a chance to hear part of his Violin Concerto, performed at exceptionally short notice by Gregory Fulkerson with members of the University Symphony Orchestra. Needless to say, it was very disappointing that only the first movement was programmed, particularly since Fulkerson, playing on a marvellous instrument that belonged at one time to Alma Rosé, produced a much sweeter tone than is customary in this somewhat dry work.

Undoubtedly the strongest, most moving and important event of the weekend involved Mark Ludwig and the Hawthorne Quartet. Mr Ludwig talked once again about Theresienstadt and the third quartet of Viktor Ullmann. Both subjects were presented in a very direct manner to a totally naïve but exceptionally receptive audience. Yet the approach was far from patronising, and the work surpassed our expectations. He also introduced to us Ela Weissberger, a survivor of Theresienstadt and performer of the role of the cat in Brundibar, the children's opera by Hans Krasa. It goes without saying that hearing Ms Weisberger' relate her harrowing experiences was extremely moving Her presentation was strong for its very honesty and lack of maudlin pretension.

The same unfortunately, could not be said for Martin Goldsmith's lecture on the 'Jüdische Kulturbund'. Mr Goldsmith has written a popular book about his parents meeting and falling in love while performing in the Kulturbund orchestra. A major study on the activities of the Kulturbund is long overdue in English, but his book, "The Inextinguishable" does not fit the bill. His 'presentation' focused more on anecdotal information about his family than on the "Kubu" and rather than speak, he read some of the book's more toe-curling passages. By the time a good number of the audience was sobbing, looking pained at the apparent badness of humanity, he withdrew to the foyer to sell and sign copies of his book. He departed as suddenly as he arrived without staying for the Gala concert that the students had counted on him presenting. The impression was that Mr Goldsmith had arrived thinking he was talking to a book club and not at a conference on "Entartete Musik".

The Gala concert in the evening was a strange but enjoyable mixed bag. It opened with a dramatic performance of Korngold's "Ich ging zu ihm" sung by Kathryne Jennings, from the opera Das Wunder der Heliane. Then followed an astonishing work, Four Preludes, by Vitezslava Kapralova played with fine technical accomplishment by the young Chinese American pianist Kuang-Hao Huang. The sublimely wonderful third movement from Erwin Schulhoff's Sonata for Flute and Piano provided a marvellous foil to the Kapralova.

The oddity in the evening, especially coming after the Schulhoff was another medley of Kurt Weill songs, a sine qua non if the conference was to get funding from the Kurt Weill Foundation. This was an interesting yet mercifully short mixture of a couple of Broadway numbers that culminated in a weird rendition of Mack the Knife as rap.

The Hawthornes closed the concert with the second half to themselves: Gideon Klein, Pavel Haas, Hans Krasa and again, Viktor Ullmann's third quartet. It was physically painful to think of the talent lost in the 25 year old Gideon Klein, murdered at Auschwitz. His music was never emotional and perhaps all the more moving as a result. It was solid and intellectual, though the circumstances of its composition in Theresienstadt begged many questions. Haas, a more established composer was represented by the melancholic slow movement of his second quartet, a work used as the final track on the "Entartete Musik" compilation disc.

Perhaps the best moment and a perfectly stage-managed end to the concert and the event was the finale of Brundibar performed by the local opera group. They did a great job and as an encore, Ela Weissberger sang in Czech the role she had sung in 1942, her voice as clear and perfectly tuned as ever. No wonder she was chosen for the role almost 60 years ago.

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14. Performance Calendar — a list of concerts of suppressed music worldwide

Jan 2001 onwards

Please submit details of any future performances to us.

SELECTED PERFORMANCES 2001/02

Max Brand
25.11.2000: Maschinist Hopkins (semi-staged)
Cambridge University Opera Society
Queen Elizabeth Hall, London

Berthold Goldschmidt
18/19/20.1.2001: Violin Concerto
Chantal Juillet/Swedish Chamber Orchestra/
Thomas Dausgaard
Orebro/Stockholm

21.1.2001: Retrospectrum (US premiere)
Jeffrey Multer/Philippe Chao/Steven Honigberg
United States Holocaust Museum,
Washington DC

5.2.2001: Fantasy for oboe, cello and harp
Members of the Britten Sinfonia
Library Theatre, Luton, UK

2.3.2001: Retrospectrum
Kolja Lessing/musicians from the Banff Centre
Banff Centre, Alberta, Canada

18.3.2001: Fantasy for oboe, cello and harp
Piet Van Bockstal, oboe/Karel Steylaerts cello
Sophie Hallynck, harp
Philharmonic Hall, Antwerp

25.3.2001: Variations on a Palestine Shepherd's Song/
Capriccio/Nebelweben/Ein Rosenzweig/Time/
Clouds/Beatrice's Song/Der Verflossene
Helen Lawrence, soprano/William Hancox, piano
Jewish Cultural Centre, London

3.5.2001: Retrospectrum
Chamber Domaine
St John's, Smith Square, London

22.5.2001: Retrospectrum
|Andrusier Ensemble
Hampstead & Highgate Festival, London

9.6.2001: String Quartet No. 2
Mandelring Quartet
Parktheater, Bensheim, Germany

12.8.2001: Fantasy for oboe, cello and harp
Andrew Knights/Sefa Steen/David Kenedy
Great Hall, Dartington, UK

13.8.2001: Clarinet Quartet
David Campbell/Miriam Kramer/Peter Sulski/David Kenedy
Great Hall, Dartington, UK

14.8.2001: Piano Trio
Israel Piano Trio
Great Hall, Dartington, UK

2.11.2001: Rondeau 'rue du Rocher'
Kolja Lessing/Saarbrucken-Rundfunk Orchester
Saarbrucken, Germany

18.1.2002: String Quartet No. 2
Mandelring Quartet
Blauer Saal, Schloss Herrnsheim, Worms, Germany

10.3.2002: Suite op. 5
Kammersymphonie Berlin/Jürgen Bruns
Konzerthaus, Berlin

Erich Wolfgang Korngold
18/19.1.2001: Symphony in F sharp
New Japan Philharmonic/Michiyoshi Inoue
Sumida Triphony Hall, Tokyo

18/19/21.1. 2001: Violin Concerto
Albrecht Rau/Neubrandenburger Philharmonie/
Nicolás Pasquet
Neubrandenburg, Güstrow, Neustrelitz, Germany

25.1.2001: Violin Concerto
Yuzuko Hoigome/New Japan Philharmonic/Michiyoshi Inoue
Orchard Hall, Tokyo

25.1.2001: Violin Concerto
Frantisek Novotny/Janacek Philharmonic Orchestra
Christian Arming
Ostrava, Czech Republic

8/9/13.2.2001: Violin Concerto
Gil Shaham/New York Philharmonic/Andre Previn
Avery Fisher Hall, New York

25.2.2001: Cello Concerto
Raphael Wallfisch/Netherlands Radio
Philharmonic/Paul Daniel

Concertgebouw, Amsterdam
28.2.2001: Symphony in F sharp
Vienna Symphony Orchestra/Ingo Metzmacher
Musikverein, Vienna

23.4.2001: Piano Trio op. 1
Chamber Domaine
Wigmore Hall, London

4/6.5.2001: Die tote Stadt
Mulhouse, La Filature

14/1./21.5.2001–: Paris, Théâtre du Châtelet
l'Opéra National du Rhin/Jan Latham-Koenig

6/13/18/21/25/: Die tote Stadt
28.5.2000: Opernhaus Köln
MusikTriennale Köln 2000

7.5.2001: Much Ado about Nothing (Suite)
Pavel Sporcl, violin/Petr Jirikovsky, piano
Leamington Spa, Royal Pump Room, UK

13/14.5.2001: Violin Concerto
Orchester des Staatstheaters Darmstadt/Peter Kuhn
Ingo de Haas

13.5.2001: Baby-Serenade
Bruckner Orchester Linz/Caspar Richter
Brucknerhaus, Linz

21.5.2001: Sextet
Wiener Streichsextett
Prague, Spanish Hall
Prague Spring 2001

31.5.2000: Violin Sonata
Ernst Kovacic/David Owen Norris
Bergen

10.6.2001: Piano Trio op. 1
George Marsh/Steven Honigberg/Joseph Holt
United States Holocaust Museum,
Washington DC

10.6.2001: String Quartet No. 2
Gewandhaus-Quartett
Leipzig, Gewandhaus, Mendelssohn-Saal

3.7.2001: Much Ado About Nothing
City of London Sinfonia/HK Gruber
Guildhall Great Hall, London

5.12.2001: Cello Concerto
Jan Vogler (cello)/American Symphony Orchestra/Leon Botstein
Avery Fisher Hall, Lincoln Center, New York

1.3.2002: Violin Concerto
Warsaw Radio Symphony/Wojciech Rajski
Ulriek-Anima Mathé
Tonhalle, Zürich, Switzerland

Pavel Haas
23.4.2001: String Quartet No. 3
Oesterreichisches Ensemble fur Neue Musik
Mozarteum, Wiener Saal, Salzburg

Gideon Klein
23.4.2002: Fantasia and Fugue
Oesterreichisches Ensemble fur Neue Musik
Mozarteum, Wiener Saal, Salzburg

22.5.2001: String Trio
Andrusier Ensemble
Hampstead & Highgate Festival, London

Hans Krása
22.4.2001: Dance/Theme and Variations
Members of the Philadelphia Orchestra
Academy of Music Ballroom, Philadelphia

10.4.2001: Brundibar
Henry Street School/Neal Goren
New York

22.5.2001: Dance
Andrusier Ensemble
Hampstead & Highgate Festival, London

19/20/21.10.2001: Brundibar
Hochschule fur Musik und Theater Bern,
Bern, Switzerland

Ernst Krenek
22.5.2001: Serenade op.4
Andrusier Ensemble
Hampstead & Highgate Festival, London

10.11.12.13/10/2001: Die Nachtigall
San Francisco Symphony Orchestra/Michael Tilson Thomas
Davies Symphony Hall, San Francisco

Franz Schreker
22/23.2.2001: Vorspiel zu einer grossen Oper
25.2.2001: Gulbenkian Orchestra, Michael Zilm
Lisbon/Porto

5/6.3.2001: Chamber Symphony
Orchestre de Chambre de Lausanne, Jesus Lopez Cobos
Metropole, Lausanne, Switzerland

8.3.2001: Chamber Symphony
Mozarteum Orchester Salzburg, David Shallon
Mozarteum, Salzburg

5.5.2001: Der Geburstag der Infantin
Kammersymphonie Berlin/Jürgen Bruns
Konzerthaus, Berlin

22.5.2001: Der Wind
Andrusier Ensemble
Hampstead & Highgate Festival, London

7.7.2001: Chamber Symphony
Bruckner Orchester Linz/Heinrich Schiff
Linz, Austria

29.9.2001: Chamber Symphony
Radio Kammerorkest/Peter Eötvös
Concertgebouw, Amsterdam

21.10.2001: Der ferne Klang
Berlin Staatsoper/Michael Gielen
Berlin

26.1.2002: Die Gezeichneten
Stuttgart Opera/Lothar Zagrosek

18/19/20.4.2002: Vorspiel zu einem Drama
Dallas Symphony Orchestra/Andrew Litton
Meyerson Symphony Center, Dallas

2/6/11/18/: Die Gezeichneten
21/23.8.2002: Deutscher-Symphonie Orchester, Berlin/Kent Nagano
Salzburg Festival

Erwin Schullhof
8.5.2001: Divertissement
Members of the Juventus Wind Quintet
Leamington Spa, Royal Pump Room,UK

20.5.2001: Concerto for string quartet and wind instruments
Berlin, Konzerthaus, Kleiner Saal

25.5.2001: Köln, WDR, Funkhaus Wallrafplatz
Artemis Quartett/Ensemble ECHO der Hochschule für Musik
"Hanns Eisler" Berlin/Constantia Gourzi

28.5.2001: Five Pieces for String Quartet
Petersen Quartett
Dresden, Schloss Albrechtsberg, Kronensaal
Dresdner Musikfestspiele

18/20.5.2001: Menschheit
Philharmonisches Orchester Cottbus/Frank Morgenstern
Waltraud Hoffmann-Mucher
Cottbus, Staatstheater

11/12/13.5.2001: Concerto for string quartet and wind instruments
Orquestra Metropolitana de Lisboa/Joana Carneiro

24/26/28.6.2001: Symphony No. 2
Universitätsorchester Essen
Audimax der Universität, Essen

9.6.2001: Suite for chamber orchestra
Darmstadt, Paulusplatz
Kammerphilharmonie Merck/Marcus R Bosch

Victor Ullmann
12.5.2001: Der Kaiser von Atlantis
Südostbayerisches Städttheater/Guido Klaus
Passau, Bischöfliches Opernhaus

Egon Wellesz
5.12.2001: Symphony No. 3
American Symphony Orchestra/Leon Botstein
Avery Fisher Hall, Lincoln Center, New York

Alexander Zemlinsky
21.1.2001: String Quartet No. 4
Jeffrey Multer/Jane Stewart /Philippe Chao/
Steven Honigberg
United States Holocaust Museum, Washington DC

5.2.2000: Trio in D minor op. 3
Vienna Piano Trio
Fitzwilliam Museum, Cambridge, UK

11.3.2001: Lyric Symphony
Elisabeth Meyer-Topsoe (soprano), John Wegner (baritone)/
Staatsphilharmonie Rheinland-Pfalz/Theodor Guschlbauer
Rheingoldhalle, Mainz, Germany

22/23.3.2001: Die Seejungfrau
Oslo Philharmonic Orchestra/Manfred Honeck
Konserthus, Oslo

12.5.2001: Eine florentinische Tragödie/Der Zwerg
Stadttheater, Bremerhaven, Germany/Stephan Tetzlaff

14.5.2001: Lyric Symphony
Orchester Des Staatstheaters Kassel/Roberto Paternostro
Karen Robertson (soprano), Claudio Otelli (baritone)

26.5.2001: Psalm 83/Psalm 23
Cincinnati Symphony Orchestra/James Conlon

28.5.2001: Eine florentinische Tragödie/Der Zwerg
Badische Staatskapelle/Uwe Sandner
Badisches Staatstheater, Karlsruhe, Germany

29.31.5/1.3.5.6.7: Der Zwerg
8.9.10/6/2001: Orchestra & Coro del Teatro Regio/Yuri Ahronovitch
David Kuebler/Mehrzad Montazeri (Zwerg), Antonia Brown/Raffaella Angeletti (Infantin)
Torino, Italy

17.9.2001: Trio in D minor op.3
Jörg Widmann/Bruno Weinmeister/Momo Kodama
Kammermusiksaal der Philharmonie, Berlin
Berliner Festwochen

27/28.9.2001: Die Seejungfrau
SO Des Bayerischen Rundfunks/James Conlon
München

24.28.31/1: Der Zwerg|
3.6.9.12.15/11.2001: Orchestre et ChÏurs de l'Opéra National de Paris/James Conlon
Palais Garnier, Paris

5.10.2001: Symphony in B flat major
Helsingborgs Symfoniorkester/Ola Rudner
Helsingborgs

26/27/28.4.2002: Die Seejungfrau
Los Angeles Philharmonic/James Conlon
Los Angeles

9.6.2002: Eine florentinische Tragödie/Der Zwerg
American Symphony Orchestra/Leon Botstein
Avery Fisher Hall, Lincoln Center, New York

Other Performance events:
Sunday, April 29 Washington DC, Kennedy Center
Czech 'Entartete Musik' Lynn Gaubatz (bassoon)
American virtuoso bassoon Lynn Gaubatz of Falls Church, Virginia, performed "Entartete Musik" commemorating the 56th anniversary of the liberation of Dachau — Karel Reiner a Dachau survivor, Jaromir Weinberger, Eric Zeisl, Felix Mendelssohn, Karol Rathaus, and Ralph Vaughan Williams. To hear the performance on the Internet, go to:
http://www.kennedy-center.org/programs/millennium

For more information:
http://members.aol.com/mozartsalz/gaubatz.html

Dr. Primavera Gruber of the Orpheus Trust, Vienna — Verein zur Erforschung und Veröffentlichung vertriebener und vergessener Kunst, Sigmundsgasse 11/3, A-1070 Wien, Tel/Fax 01/5268092, writes to inform us about a Piano Recital by David Holzman, presented by the Orpheus Trust in cooperation with the Arnold Schönberg Festival, Arnold Schönberg-Center Vienna, 2001, May 14, 7.30 p.m.

Programme includes:

Arnold Schönberg 3 Klavierstücke op. 11
Raoul Pleskow Piano Sonata No. 3 (1998) European Premiere
Stefan Wolpe The Good Spirit of a Right Cause (1942) European Premiere
Erich Itor Kahn Ciaccona Dei Tempi di Guerra (1943) European Premiere
Stefan Wolpe Gesang, weil ich etwas Teures verlassen muß (1920)
Sonate op. 1 (1925) Austrian Premiere
Tango (1927)
Waltz for Merle (1952) LEA
From the Palestinian Notebook (1939) European Premiere

Also of interest is the Orpheus Trust international symposium 'Music Therapy in Exile. Vally Weigl, a pianist, composer and music therapist' May 28th and 29th at the Herbert von Karajan Centrum and the Sigmund Freud Museum. For more details email: office[at]orpheustrust.at or
http://www.orpheustrust.at/

Wednesday 9 May, 8.30pm Rome Opera House. Tickets + 39 06 48 160 255
Krenek: What Price Confidence (twelve-tone opera)
Also Three Krenek Song Cycles, Monolog der Stella O Lacrymosa, and Drei Gesange. Elysium Ensemble, Between two Continents, Dir Gregorij von Leitis Elysiumbtc[at]aol.com

June 3–17 Bernreid, near Munich Elysium 7th International Summer School
Emphasis will be on songs by exiled composers and on the operas of Albert Lortzing. For details email Elysiumbtc[at]aol.com

June 21–29 European tour to Bernreid, Sarajevo, Berlin and Leipzig
Exile: a musical-literary fugue
Works by famous and little-known artists: Paul Aron, Erich Itor Kahn, Egon Lustgarten and Mischa Spoliansky. Elysium Ensemble, Between two Continents, Dir Gregorij von Leitis Elysiumbtc[at]aol.com

Wednesday 20 June, 7.00pm Czech Embassy, London
In the Shadow of the Swastika
Ullmann, Schulhoff, Doubrava, Boøkovec Toma- Tuláèek (violin), Ludmila Marchandier (soprano), Ceoffrey Chacaro, Steven Wray (piano) Information: 020 7291 9920

Wednesday, 13 July, 7.00pm Czech Embassy, London
In the Shadow of the Hammer and Sickle
Mácha, Górecki, Korte, Feld, Toma_ Tuláèek (violin), Vìra Müllerova (piano)
Information: 020 7291 9920

Brundibar: Paul Aron Sandfort was a trumpet player 14 years of age in the stadtkappelle in the Terezín ghetto 1943–45. He made a European tour with an outstanding educational performance of Brundibar

by the Jeunesses Musicales M-V, which also visited London in Oct. 2000. He is now giving lessons and introductions at performances of Brundibar and Ullmann's Terezín opera The Kaiser von Atlantis, having made stage directions of these too. In Schwerin, near Hamburg, he participated in a symposium and concerts of Terezín composers last January. Paul Aron Sandfort now lives partly in Denmark, paul[at]post12.tele.dk , and partly in Rome, sandfor[at]tin.it and is going to Reggio Emilia for a Brundibar, and to a Brundibar in Terezín in June, organizing a Brundibar in Aquila near Rome, and several performances in Denmark for the next year.

The director and the organizer of these events are: Volker Ahmels, Konservatorium Schwerin, Puschkinstr. 6, D-19055, 0385 5557290, volker[at]ahmels.de , jeunesses musicales MV, and Wolfg. Donner, Akademie fuer politik und kultur, akademiepwkschwerin[at]t-online.de

The Wiener Festwochen 2003 will be dedicated to the exiled and murdered composers and the Jewish Museum of Vienna will have an exhibition at that time. Programme may include some Zeisl premieres, including perhaps his comic opera "Leonce und Lena." The Zeisl centenary is 2005. Details from E. Randol Schoenberg. randols[at]schoenberglaw.com
http://www.schoenberglaw.com

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15. Information about JMI International Forum for Suppressed Music

President: Sir Simon Rattle

Executive Committee:
Michael Haas, Executive Producer 'Entartete Musik' Series, Decca
Erik Levi, Royal Holloway University of London
Alexander Knapp, Joe Loss Lecturer in Jewish Music, SOAS, University of London
Lloyd Moore, Boosey and Hawkes
Martin Anderson, Toccata Press
Geraldine Auerbach MBE, Director, Jewish Music Institute, SOAS

Advisory Board:
Brendan G Carroll, International Korngold Society
Evelyn Chi-Yi Chan, Friends of Schreker/Weigl Foundation, Paris
Albrecht Dümling, Musica Reanimata and 'Entartete Musik' Exhibition Curator, Berlin
Christopher Hailey, Franz Schreker Foundation LA and Schoenberg Institut, Vienna
Martin Schüssler, Rathaus Foundation, New York, Berlin

Patrons:
Vilem Tausky, Matthias Goerne, John Mauceri

The International Forum for Suppressed Music (IFSM) was established in September 1999, by the Jewish Music Institute, (JMI) at the School of Oriental and African Studies, (SOAS) University of London, as a platform to bring together all those working in the field of suppressed music. Although its early focus is on composers who suffered under the Third Reich, the IFSM is also platform for examining music under other totalitarian regimes.

Music suppressed by the Third Reich
What might have evolved as the language of music in Western Europe had composers, at the most crucial stage of their careers in the 1930s, not been forced from their homeland is a subject that is now being addressed with increasing intensity worldwide. The International Forum for Suppressed Music is in the forefront of research, education, publication, recording, performance and communication of information on this vast range of forbidden music.

Conferences
In July 2000, the IFSM, together with the Department of Music at SOAS, held a highly influential International Conference, 'Thwarted Voices', focusing on the composition students of Franz Schreker in Berlin from 1920–1933 with invited speakers from the UK, Europe and America. Follow the link www.jmi.org.uk/suppressedmusic/conference for details and the abstracts of this conference.

IFSM is starting to plan the second JMI IFSM International Conference, to be held in Paris in late June or early July 2002.

Projects
The International Forum for Suppressed Music has embarked on a number of projects, among them, to record the oral testimony of composers and musicians of the early part of the 20th Century in Central Europe, their families and friends. It is preparing to receive the archives of musicians of the period, establishing databases of the repertoire, developing major enterprises in the study, reconstruction, performance and recording of this music, and publishing new scholarship as well as material not hitherto available in English. Many projects are lined up and awaiting funding to set them in motion.

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