The Auschwitz-Birkenau Women’s Orchestra

By Richard Brewer 

I have talked on previous blogs about the power of music in evoking memories and emotions. Specifically, I mentioned the concerts Southern Sinfonia performed last year which were dedicated to those who lost their lives in World War One. This time I am thinking about World War Two.

Last week marked the 70^th anniversary of the liberation of Auschwitz-Birkenau. Out of all the horror that occurred during the war at this camp, and many others, there is one small piece of salvation that stands out to me as a musician. Recently, Stephen Fry was filmed in conversation with a lady named Anita Lasker-Wallfisch. Mrs Lasker-Wallfisch was one of the lucky few that managed to survive her time in the hell that was Auschwitz.

Lasker-Wallfisch puts her survival down to her ability to play the cello. In a number of camps across Europe, it was fashionable for the Nazis to form orchestras or bands with prisoners who were musicians; it was even sometimes seen as a status symbol for a camp leader to have a high quality orchestra. Auschwitz-Birkenau was no different and in 1943, a women’s orchestra was founded. For the majority of those who could play instruments, this was a lifeline. Lasker-Wallfisch describes her time:

“I was extremely lucky, it was all a matter of luck you see…people often ask how can you possibly survive that, I was one of the very few people to survive a year in Auschwitz, nobody survives a year in Auschwitz, because of music.”

I find her use of the word ‘lucky’ extremely interesting; say, perhaps, she hadn’t learned the cello at an early age before being sent to Auschwitz, it is almost certain that she would not have survived. For some, it would have been a chance to perhaps try and forget the situation they were in, a chance to express some emotions they were previously not able to do. For others, however, as Mrs Lasker-Wallfisch points out, it was offensive. She explains that some of the fellow Jews found it quite intrusive and didn’t like it (incidentally, she says this may have been due to the fact that only around 5 musicians from the orchestra could actually play their instrument well!)

The type of music performed and the situations they played in brings validity to those who weren't fans of the orchestras. The Nazi regime didn't exactly make it a pleasurable experience for the musicians, ensuring they practiced almost constantly in what were no doubt horrible conditions. They would also be asked to perform for prisoners arriving on trains, as they were led straight into gas chambers. It has been said that a regular song Nazis requested the orchestras and bands to play on repeat was “J'attendrai ton retour”, literally meaning “I will wait for your return”; a quite ironic song to those already akin to the events taking place. Additionally, they would play pompous, patriotic German marches; it is impossible to imagine how degrading and torturous it must have been for the prisoners to play such material.

I find Mrs Lasker-Wallfisch’s story extraordinary. To think that music and her ability to play the cello ensured her safety in a Nazi war camp is quite astounding. Despite the differences in their beliefs, and the way the Nazis treated the prisoners, one thing actually is quite clear; music is a universal language, one that all of us can understand and portray. Music is a savior for so many people in so many differing situations, but this one really stands out; music saved lives.

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'Cultural Value and Artistic Importance' - Orchestras Potentially in Line for Tax Break

By Chris Billingham 

I’ve got to admit, I don’t usually pay a lot of attention to the Autumn Statement. I know I should, I know it’s important and I also know they even use words like ‘Beer Tax’ but the reality is it doesn’t usually grab my attention. However this week’s announcement caught my eye. I wasn’t alone either; a number of Orchestra or Classical Music related social media accounts and people I know had a lot to say about Wednesday’s speech from The Chancellor of the Exchequer George Osborne. 

The bit that caught people’s attention was: 

“The government is committed to supporting the creative industries so they continue to thrive in the UK. This government has introduced tax relief for high-end television programmes, animation, video games and theatre productions and has expanded the successful tax relief scheme for films. Building on this, the government will introduce a new tax relief for children’s television programmes from April 2015. The government will also launch a formal consultation in early 2015 about introducing a new tax relief for orchestras from April 2016, in recognition of their cultural value and artistic importance”. 

The fact that Orchestras and potential tax reliefs were specifically mentioned is a positive sign that the financial situation for Orchestras may be about to improve. When discussing this with a friend not connected in any way to the classical music world, the first question they understandably asked was “is the situation that bad for your industry?” Keith Motson, an executive at the Association of British Orchestras has helped clarify the situation by pointing out that "Orchestras earn well over 50% of their income from other sources so the chancellor’s commitment to tax relief can boost orchestras’ entrepreneurial efforts". He also explained “"British orchestras play more than 3,500 concerts a year to more than 4.5 million people. But they are facing one of the toughest periods in their history with cuts in public and, in particular, local authority funding”.

Researching into the subject, it does seem odd to me that Orchestras were not considered back in March when Osborne confirmed tax breaks of at least 20 per cent for commercial productions and regional touring companies, benefiting opera and dance organisations as well as plays, musicals and theatre groups. As previously explained my knowledge on the subject is not particularly wide but it seems unfair to differentiate between art forms and the financial advantages each one can have. Whilst it is fantastic that this consultation will take place next year, why is it that Orchestras aren’t paired with the “high-end television programmes, animation, video games and theatre productions” and “films” that already have various tax relief schemes. I suppose that is quite a naïve attitude, lines have to be drawn somewhere and the reality is if all forms of art were viewed by the government in the same way there wouldn’t be opportunities for tax breaks for anyone. However from the romantic viewpoint of someone that loves creativity it does seem a shame that imagination and art has to be judged and labelled in this way.  

 

Speaking of creativity and moving us firmly away from financing music and into the more comfortable territory of playing it, Southern Sinfonia have a number of exciting concerts on the horizon. On the 9^th December we join forces with the Windsor and Eton Choral Society for a performance of Handel’s Israel in Egypt at baroque pitch on ‘period’ instruments. After this we change locations to the candle-lit Old Royal Naval College, but stay with Handel and play his Messiah with the ORNC Chapel Choir on the 17^th December. To find out more about these concerts and next years events please click here for the What’s On section of our website. 

You can also find out more about Southern Sinfonia by visiting our main website, Facebook, Twitter or Instagram pages. 

Drawing Together Disparate Threads - A Look at the Life and Work of Purcell

By Chris Billingham 

Today marks 319 years since the death of Henry Purcell, one of the most renowned English composers this world has seen. With undeniable influence on not just classical but rock music, it seemed right to dedicate this week’s blog to his story and body of work.

As the son of a musician (a gentleman of the Chapel Royal) Purcell grew up with music and lived only a few hundred yards from Westminster Abbey. However when his father died at 5 years old, his mother Elizabeth had to move the family to more modest accommodation. Purcell did however return to Westminster Abbey in later life when he became organist. Purcell took the position over from Dr. John Blow who is said to have stepped aside from the post after he recognised how talented Purcell was. After Purcell died he returned to the role and wrote An Ode, on the Death of Mr. Henry Purcell (Mark how the lark and linnet sing) in tribute to his former pupil. It’s pieces like this that give listeners an insight into what Purcell was like as a person, historians have to turn to these pieces because not much is known about who he was a person. 

Whilst we know the basic facts listed above a number of other details are debated and not much is known about his personality and attributes. It is said for example that he began composing at 9 years old, however the earliest work that can be certainly identified as his is an ode for the King's birthday, which was written in 1670 when he was 21. However his music (and the music created in his memory) tells us a lot. Purcell clearly had a lust for life. This can be seen in his instrumental music that contains upbeat melodic inspirations that make the listener picture summer and other vibrant scenes.  

Not every piece created these images however, when discussing the influence that folk music had on Purcell, British conductor and broadcaster Charles Hazlewood states that he took phrases and ideas from folk music at the time and created “a quiet sense of melancholy”. When presented with the more vibrant scenes its easy to see why Purcell’s music has stood the test of time, as Hazlewood goes on to state “he was amazingly successful at drawing together disparate threads”. 

In the same way that Purcell took the sounds and themes of folk music and turned them into something different, modern rock and pop acts have used Purcell’s music as an influence for themselves. The Who in particular were influenced by Purcell’s harmonies, his influence can be seen in some of their most renowned work including ‘Won’t Get Fooled Again’ and ‘Pinball Wizard’. Sections of Music for the Funeral of Queen Mary were also adapted to be used as the theme music for the 1971 film A Clockwork Orange.  

When people think of English composer and Baroque music, Purcell is at the forefront of their mind because of a short but incredibly compelling body of work. Whilst we don’t know much about the man himself, the fact that he is so regarded and still influences so many artists confirms how much he achieved by composing beautiful pieces that listeners including the team at Southern Sinfonia still put on to relax and lift spirits. 

This lunchtime we will be putting on our final cafe concert of the autumn season. A continuation of the popular 'Secrets of the Orchestra' series, the concert will focus on the convivial yet complex brass section. 

If you would like to find out more about Southern Sinfonia, please click here for our website. You can also view images and find out the latest news by visiting our Facebook, Twitter and Instagram pages.