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Title:Music in Terezín : Cultural Continuity in Extreme Conditions
Authors:ID Spurný, Lubomír (Author)
Files:.pdf ZUP_Spurny_Lubomir_2026.pdf (161,09 KB)
MD5: 9DAC894FF83A05CDF74A15E1058B39C9
 
URL https://hippocampus.si/ISBN/978-961-293-555-9/49-58.pdf
 
Language:English
Work type:Not categorized
Typology:1.16 - Independent Scientific Component Part or a Chapter in a Monograph
Organization:ZUP - University of Primorska Press
Abstract:The article examines the phenomenon of the “Terezín composers” and the role of music in the extreme conditions of the Theresienstadt (Terezín) ghetto between 1941 and 1945. The term, although widely used, does not denote a coherent compositional school: Viktor Ullmann, Pavel Haas, Hans Krása, Zikmund Schul, Karel Reiner, Gideon Klein, and others did not share a unified aesthetic programme, compositional techniques, or common patronage. Their works have little in common in terms of innovation or stylistic novelty. Instead, they were profoundly shaped by the circumstances of imprisonment and the cultural topography of the ghetto, which, as Michael Beckerman has pointed out, conferred upon them a special emotional resonance. The study outlines three perspectives: professional practice under duress, the cultural preludes of clandestine musical life in the Protectorate, and the development of musical life in Terezín itself – from early prohibitions through the structures of Freizeitgestaltung to its exploitation in Nazi propaganda. Special attention is given to the vital role of performers who preserved the works and to the paradoxical cultural encounter of Czech, German, and Jewish traditions. In this sense, Theresienstadt became the last site where these cultures converged – briefly and creatively, before being destroyed by the deportations of 1944.
Keywords:Theresienstadt, Terezín composers, Viktor Ullmann, Pavel Haas, Hans Krása, Gideon Klein, Zikmund Schul, Karel Reiner, Freizeitgestaltung
Publication status:Published
Publication version:Version of Record
Place of publishing:Koper in Ljubljana
Publisher:Založba Univerze na Primorskem in Festival Ljubljana
Year of publishing:2026
Number of pages:str. 49-58
PID:20.500.12556/RUP-22748 This link opens in a new window
ISBN:9789612935559
DOI:https://doi.org/10.26493/978-961-293-555-9.49-58 This link opens in a new window
Publication date in RUP:10.03.2026
Views:281
Downloads:11
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Record is a part of a monograph

Title:Skladateljska društva nekoč in danes : preplet stanovskega in nacionalnega
Place of publishing:Koper in Ljubljana
Publisher:Založba Univerze na Primorskem in Festival Ljubljana
Year of publishing:2026
ISBN:978-961-293-555-9
COBISS.SI-ID:268951043 This link opens in a new window
Collection title:Studia musicologica Labacensia
Collection numbering:9
Collection ISSN:2712-2867

Licences

License:CC BY-NC 4.0, Creative Commons Attribution-NonCommercial 4.0 International
Link:http://creativecommons.org/licenses/by-nc/4.0/
Description:A creative commons license that bans commercial use, but the users don’t have to license their derivative works on the same terms.

Secondary language

Language:Slovenian
Title:Glasba v Terezínu : kulturna kontinuiteta v ekstremnih pogojih
Abstract:Prispevek obravnava fenomen »terezínskih skladateljev« in vlogo glasbe v ekstremnih življenjskih razmerah v getu Theresienstadt (Terezín) med letoma 1941 in 1945. Čeprav je ta izraz splošno razširjen, ne predstavlja koherentne kompozicijske šole: Viktor Ullmann, Pavel Haas, Hans Krása, Zikmund Schul, Karel Reiner, Gideon Klein in drugi si niso delili enotnega estetskega programa, kompozicijskih tehnik ali skupnega mecenstva. Njihova dela imajo le malo skupnega v smislu inovativnosti ali stilistične novosti. Nasprotno, globoko so jih zaznamovale okoliščine zaporništva in kulturna topografija geta, ki jim je, kot je poudaril Michael Beckerman, dodelila posebno čustveno odmevnost. Študija oriše tri perspektive: profesionalno prakso pod prisilo, kulturne preludije tajnega glasbenega življenja v protektoratu ter razvoj glasbenega življenja v samem Terezínu – od zgodnjih prepovedi prek struktur Freizeitgestaltung do njegove izrabe v nacistični propagandi. Posebna pozornost je namenjena bistveni vlogi izvajalcev, ki so ohranjali dela, ter paradoksnemu kulturnemu srečanju čeških, nemških in judovskih tradicij. V tem smislu je bil Theresienstadt zadnje mesto, kjer so se te kulture povezale – za kratek čas in na ustvarjalen način, preden so jih leta 1944 uničile deportacije.
Keywords:Theresienstadt, terezínski skladatelji, Viktor Ullmann, Pavel Haas, Hans Krása, Gideon Klein, Zikmund Schul, Karel Reiner, Freizeitgestaltung


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