The persecution of Jews during the Holocaust would not suggest that every bit of tradition was left behind when they were taken away from their homes and transported to concentration camps. Music and its composition was a key role in society which was not to be easily forgotten no matter what the conditions were. Most musical pieces were written in a few camps, those camps being made simply for notable musicians, writers, artists, and leaders. However, one camp, by the name of Terezín (Teresienstadt), was the place where composers such as Hans Krasa, Pavel Haas, and Gideon Klein stayed (by the commission of Hitler, of course) during the Holocaust. Musical masterpieces were written at Terezin, including "Passacaglia" (Krasa), and had a profound affect on those who listened to them, whether it was a small audience in Terezin or people of this modern era.
The emotion/mood of orchestral pieces that were written during this time by Jewish composers living in the camps was of a deep longing for what once was and holding on to the last thread of hope that could lead to a brighter future. The depth in these pieces came from a two to three cellos which produced a floating, yet almost bouncy, foundation for the violins and violas that accompanied it. The tempo often reflected what kind of effect the composer wanted and the rhythm reflected the sentiment that corresponded to the slower or faster tempo.
Influences from countries outside of Europe, for example East Asia (China, Japan, etc.), gave pathways of direction for many pieces written during the time. "String Quartet, No. 2 Opus. 7," (Haas) has an almost Japanese feel to the more rhythmic, fast tempo sections of the piece, and releases a sense of free-moving emotions that could easily fill any audience with warmth and buoyancy.
For many, many years, music has been a way to escape from any pain or suffering in any of its forms. The composition of music has especially contributed to the survival mechanisms of inmates in camps like Terezín and we can see how that had brought to light many new and brilliant composers.
The emotion/mood of orchestral pieces that were written during this time by Jewish composers living in the camps was of a deep longing for what once was and holding on to the last thread of hope that could lead to a brighter future. The depth in these pieces came from a two to three cellos which produced a floating, yet almost bouncy, foundation for the violins and violas that accompanied it. The tempo often reflected what kind of effect the composer wanted and the rhythm reflected the sentiment that corresponded to the slower or faster tempo.
Influences from countries outside of Europe, for example East Asia (China, Japan, etc.), gave pathways of direction for many pieces written during the time. "String Quartet, No. 2 Opus. 7," (Haas) has an almost Japanese feel to the more rhythmic, fast tempo sections of the piece, and releases a sense of free-moving emotions that could easily fill any audience with warmth and buoyancy.
For many, many years, music has been a way to escape from any pain or suffering in any of its forms. The composition of music has especially contributed to the survival mechanisms of inmates in camps like Terezín and we can see how that had brought to light many new and brilliant composers.
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