Album insights
Representatives of a lost generation in Czech music, the four composers featured in this recording emerged from the creative soil enriched by Janácek, Zemlinsky, Schönberg, and Berg in Central Europe. Notably, it is often overlooked that Janácek's most important student, Pavel Haas, met a tragic fate in Auschwitz, mirroring the destiny of the other composers represented here. Jewish composers existing in the wrong time and place, all four found themselves on the same transport from Theresienstadt to Auschwitz on October 16, 1944. Sadly, three perished in the gas chambers soon after arrival. Not only were they prematurely taken from this world, but also their names were erased from musical history. Their works are now gradually being rediscovered, leading to an appreciation of their artistic significance.
Pavel Haas, Hans Krása, Viktor Ullmann, and Gideon Klein, Jewish composers in Czechoslovakia, found themselves in Theresienstadt as the Nazis occupied the country in March 1939. Established in the 1780s, Theresienstadt bears little resemblance to the elegant charm of cities like Salzburg or Vienna. Initially a garrison city against Prussia, Theresienstadt is now associated with memories of prison and a ghetto.
Despite being portrayed as Nazi propaganda, the cultural life in Theresienstadt blossomed independently. A transit camp to Auschwitz, Theresienstadt held 60,000 people under dire conditions meant for 6,000. While initially forbidden, music clandestinely thrived in cellars and attics. Eventually, with persuasion from the Jewish Council, musical activities were sanctioned, leading to a vibrant music scene and even theatrical productions.
Considering the circumstances, it is striking that composition occurred in Theresienstadt. Viktor Ullmann's view that the environment fostered rather than hindered his musical work echoes the sentiment of many. One remarkable piece that emerged from Theresienstadt is the renowned children's opera "Brundibár," offering an optimistic narrative in a challenging time.
Hans Krása’s melodies in "Brundibár" are catchy and engaging, the narrative portraying a victory of good over evil with a message of unity. The suite from the opera, rearranged for various instruments, captures the essence of the original work. Krása’s life journey from Prague to Paris and his encounters with diverse musical influences enriched his creative output, which continued in Theresienstadt.
Viktor Ullmann's third string quartet, composed in Theresienstadt, underscores a Viennese essence with a blend of classicism and lyricism. This work, along with the opera "The Emperor of Atlantis," reflects Ullmann's ability to convey the circumstances of his time musically. His music resonates with a fusion of expressive themes and meticulous structure.
Gideon Klein's experience in Theresienstadt as a pianist and composer yielded works that intertwined Vienna and Czech music traditions. His string trio showcases a folkloric influence balanced with classical form, revealing a poignant narrative through its three movements.
Pavel Haas, mentored by Janácek, infused programmatic elements into his music, as reflected in his second string quartet from 1925. Inspired by the Moravian landscape, the quartet vividly portrays scenes evoked during a summer retreat. Each movement encapsulates different moods, from tranquil to whimsical, reflecting the essence of Haas' creative spirit amidst adversity.