{"id":55502,"date":"2017-02-15T11:42:04","date_gmt":"2017-02-15T10:42:04","guid":{"rendered":"https:\/\/www.iemj.org\/musique-et-shoah-2\/"},"modified":"2025-04-16T13:13:35","modified_gmt":"2025-04-16T11:13:35","slug":"musique-et-shoah-2","status":"publish","type":"post","link":"https:\/\/www.iemj.org\/en\/musique-et-shoah-2\/","title":{"rendered":"Music and the Holocaust 2nd part"},"content":{"rendered":"<p><strong>From 1942 to 1945, the concentration camp of Theresienstadt (Terezin) had an intense musical activity, encouraged by the Nazis for propaganda.<\/strong><\/p>\n<p><!--more-->At the end of year 1941, the nazis gathered in the ghetto camp Terezin (about 50 km Nort-West of Prague) many Jewish intellectuals and artists who continued their creative activities. Most of these composers (Viktor Ullmann, Hans Kr\u00e1sa, Pavel Haas&#8230;) will die of hunger or in gas chambers, leaving behind them works of terrifying modernity, that musicological research of the past 20 years allowed to live again.<\/p>\n<p><img fetchpriority=\"high\" decoding=\"async\" class=\" aligncenter size-full wp-image-13031\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/doc_2_musique_et_shoah_500px_80.jpg\" alt=\"doc_2_musique_et_shoah_500px_80.jpg\" width=\"400\" height=\"308\" align=\"middle\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/doc_2_musique_et_shoah_500px_80.jpg 400w, https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/doc_2_musique_et_shoah_500px_80-300x231.jpg 300w\" sizes=\"(max-width: 400px) 100vw, 400px\" \/><\/p>\n<ul>\n<li><a href=\"http:\/\/www.musiques-regenerees.fr\/Terezin\/index.html\" target=\"_blank\" rel=\"noopener\">Look at Claude Torres\u2019 website <em>musiques r\u00e9g\u00e9n\u00e9r\u00e9es<\/em><\/a><\/li>\n<li><a href=\"https:\/\/www.iemj.org\/en\/survive-and-die-with-music-in-nazi-camps\/\" target=\"_blank\" rel=\"noopener\">Listen to the radio program : Survive and die with music in nazi camps<\/a><\/li>\n<li><a href=\"https:\/\/www.iemj.org\/en\/music-and-musicians-forbidden-under-the-third-reich\/\" target=\"_blank\" rel=\"noopener\">Listen to the radio program : Music and musicians forbidden under the Third Reich<\/a><\/li>\n<li><a href=\"https:\/\/www.iemj.org\/en\/musique-et-shoah-1\/\" target=\"_blank\" rel=\"noopener\">Listen to the playslist Music and the Holocaust 1st part<\/a><\/li>\n<\/ul>\n<p><img decoding=\"async\" class=\"wp-image-110607 aligncenter\" src=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-300x39.png\" alt=\"\" width=\"1053\" height=\"137\" srcset=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-300x39.png 300w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-1024x133.png 1024w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-768x100.png 768w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER-600x78.png 600w, https:\/\/www.iemj.org\/wp-content\/uploads\/2024\/03\/AUDIO-PLAYER.png 1210w\" sizes=\"(max-width: 1053px) 100vw, 1053px\" \/><\/p>\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/berjoskele_-_viktor_ullmann.mp3\">Berjoskele &#8211; Viktor Ullmann<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/lied_der_trostung_extrait_-_viktor_ullmann.mp3\">Lied der Tr\u00f6stung (EXTRAIT) &#8211; Viktor Ullmann<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/lullaby_extrait_-_gideon_klein.mp3\">Lullaby (EXTRAIT) &#8211; Gideon Klein<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/margarithelech_-_viktor_ullmann.mp3\">Margaritkelech &#8211; Viktor Ullmann<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/mejdel_in_die_johren_-_viktor_ullmann.mp3\">Mejdel in die Johren &#8211; Viktor Ullmann<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/ouverture_fur_kleines_orchester_extrait_-_hans_krasa.mp3\">Ouverture f\u00fcr kleines Orchester (EXTRAIT) &#8211; Hans Krasa<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/serenata_extrait_-_robert_dauber.mp3\">Serenata (EXTRAIT) &#8211; Robert Dauber<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/jetzt_liebe_leute_afgepasst_extrait_-_hans_krasa.mp3\">Jetzt, Liebe Leute, Afgepa\u00dft! (EXTRAIT) &#8211; Hans Krasa<\/a><\/div>\n\n\n\n<div class=\"wp-block-file\"><a href=\"https:\/\/www.iemj.org\/wp-content\/uploads\/2017\/02\/der_kaiser_von_atlantis_extrait_-_viktor_ullmann.mp3\">Der Kaiser von Atlantis (EXTRAIT) &#8211; Viktor Ullmann<\/a><\/div>\n","protected":false},"excerpt":{"rendered":"<p>From 1942 to 1945, the concentration camp of Theresienstadt (Terezin) had an intense musical activity, encouraged by the Nazis for propaganda.<\/p>\n","protected":false},"author":1052,"featured_media":13029,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1317],"tags":[],"technique":[],"squelettes":[],"sujet":[1802],"formation":[],"genre":[],"fonds":[],"tradition":[],"type-de-contenu":[],"interprete-compositeur":[],"frise":[],"type-devenement":[],"tableaux-liens-externes":[],"class_list":["post-55502","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-playlists-en","sujet-shoah-en"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Music and the Holocaust 2nd part - Institut Europ\u00e9en des Musiques Juives<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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