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Women's Orchestra of Auschwitz

February 04, 2023

The Women's Orchestra of Auschwitz (Mädchenorchester von Auschwitz; lit. "Girls' Orchestra of Auschwitz") was formed by order of the SS in 1943, during the Holocaust, in the Auschwitz II-Birkenau extermination camp in German-occupied Poland.[1][2] Active for 19 months—from April 1943 until October 1944—the orchestra consisted of mostly young female Jewish and Slavic prisoners, of varying nationalities, who would rehearse for up to ten hours a day to play music regarded as helpful in the daily running of the camp. They also held a concert every Sunday for the SS.[3]

Auschwitz Women's Orchestra
Mädchenorchester von Auschwitz
Auschwitz II-Birkenau extermination camp
TypePrison orchestra
Location
Coordinates50°02′09″N 19°10′42″E / 50.03583°N 19.17833°E / 50.03583; 19.17833Coordinates: 50°02′09″N 19°10′42″E / 50.03583°N 19.17833°E / 50.03583; 19.17833
PeriodApril 1943 – October 1944
Conductors
Notable players

A member of the orchestra, Fania Fénelon, published her experiences as an autobiography, Sursis pour l'orchestre (1976),[4] which appeared in English as Playing for Time (1977).[5] The book was the basis of a television film of the same name in 1980, written by Arthur Miller.

Formation

The orchestra was formed in April 1943 by SS-Oberaufseherin Maria Mandl, supervisor of the women's camp in Auschwitz, and SS-Hauptsturmfuhrer Franz Hössler, the women's camp commandant.[6] The Germans wanted a propaganda tool for visitors and camp newsreels and a tool to boost camp morale. Led at first by a Polish music teacher, Zofia Czajkowska, the orchestra remained small until Jews were admitted in May 1943. Its members came from many countries, including Austria, Belgium, Czechoslovakia, France, Germany, Greece, Hungary, Poland, the Netherlands and USSR.[7][8]

 
Anita Lasker-Wallfisch,[9] cellist[10]
 
Esther Béjarano, pianist, accordion player, singer[11]

According to professor of music Susan Eischeid, the orchestra had 20 members by June 1943; by 1944 it had 42–47 players and 3–4 musical copyists.[8] Its primary role was to play (often for hours on end in all weather conditions) at the gate of the women's camp when the work gangs left and returned. They might also play during "selection" and in the infirmary.[a]

In the early months, the ensemble consisted mainly of amateur musicians, with a string section, accordions and a mandolin; it lacked a bass section. The orchestra acquired its limited instruments and sheet music from the men's orchestra of the main Auschwitz camp.[citation needed] The repertoire of the orchestra was fairly limited, in terms of the available sheet music, the knowledge of the conductor and the wishes of the SS. It played mostly German marching songs, as well as the Polish folk and military songs that Czajkowska knew. It included two professional musicians, cellist Anita Lasker-Wallfisch, and vocalist/pianist Fania Fénelon, each of whom wrote memoirs of their time in the orchestra. Wallfisch, for example, recollected being told to play Schumann's Träumerei for Josef Mengele.[citation needed]

Conductors

The first conductor, Zofia Czajkowska, a Polish music teacher, was active from April 1943 until she was replaced by Alma Rosé, an Austrian-Jewish violinist, in August that year.[12] The daughter of Arnold Rosé, leader of the Vienna Philharmonic Orchestra, and niece of Gustav Mahler,[12] Rosé had been the conductor of the Wiener Walzermädeln, a small orchestra in Vienna, and had arrived in Auschwitz from the Drancy internment camp in Paris.[13]

By January 1944, the orchestra had 47 members, including five singers. Rosé died suddenly on 5 April 1944, possibly from food poisoning, after having dinner with a kapo (an inmate with special privileges).[12][14] The third conductor was Sonia Winogradowa, a Ukrainian pianist.[15][12] For several reasons, including reduced rehearsal time and Winogradowa's lack of experience, the orchestra's performance declined. It stopped performing in October 1944.[12]

Move to Bergen-Belsen

On 1 November 1944, the Jewish members of the women's orchestra were evacuated by cattle car to the Bergen-Belsen concentration camp in Germany, where there was neither orchestra nor special privileges.[16] Three members, Charlotte "Lola" Croner, Julie Stroumsa and Else, were murdered there.[17] On 18 January 1945, non-Jewish women in the orchestra, including several Poles, were evacuated to Ravensbrück concentration camp.[16] Fénelon was interviewed by the BBC on 15 April 1945, the day of Bergen-Belsen's liberation by British troops, and sang "La Marseillaise" and "God Save the King".[18]

Books

The best known publication about the orchestra is Fania Fénelon's memoir, Playing for Time (1977),[5] first published in Paris as Sursis pour l'orchestre (1976).[4] The memoir and subsequent TV adaptation assumed an important place in Holocaust scholarship. This was a source of frustration to other survivors of the orchestra, who disagreed with Fénelon's representation of the orchestra, particularly her portrayal of Alma Rosé and several other musicians, and the diminishment by Fénelon of their bond and support for one another.[19] Fénelon presents Rosé as a cruel disciplinarian and self-hating Jew who admired the Nazis and courted their favor. A biography, Alma Rosé: From Vienna to Auschwitz (2000), by Rosé family friend Richard Newman and Karen Kirtley, presents a different picture.[13]

List of members

Listed alphabetically by birth name or by first name where no surname is known.

Conductors

Players

  • Margot Anzenbacher (later Větrovcová), guitar, Czech[24]
  • Lilly Assael, Jewish, Greek[25]
  • Yvette Assael (later Lennon), Greek[26]
  • Stefania Baruch, music teacher, played guitar and mandolin[27]
  • Esther Lowey Béjarano (Sarah Weiss), pianist, singer, accordion[11]
  • Zofia Cykowiak (Zocha Nowak), Polish[28]
  • Henryka Czapla, Polish[29]
  • Helena Dunicz-Niwińska (Halina Opielka),[30] violin, Polish, Nr. 64118, author of One of the Girls in the Band: The Memoirs of a Violinist from Birkenau (2014)[31]
  • Fania Fénelon,[32] piano and voice, French, Nr. 74862 author of Sursis pour l'orchestre (1976).[33][34]
  • Henryka Gałązka, violin, Polish[29]
  • Marta Goldstein[35]
  • Hilde Grünbaum[36]
  • Danuta Kollakowa, drums, piano, Polish[37]
  • Fanny Kornblum (later Birkenwald)[38][39]
  • Marie Kroner (murdered in Auschwitz)[17]
  • Regina Kupferberg (later Rivka Bacia), Jewish[40][41]
  • Irena Łagowska, Polish[42]
  • Maria Langenfeld, Polish[43]
  • Anita Lasker-Wallfisch (Marta Goldstein), cello, Jewish[9]
  • Lotta Lebedová, Jewish from Bohemia.[15]
  • Kazimiera Małys[44]
  • Lily Mathé,(fr), Hungarian[35]
  • Elsa Miller (later Felstein), violin, Belgian, Jewish[42]
  • Claire Monis, French (fr)[45]
  • Maria Moś-Wdowik, Polish[46]
  • Hélène Rounder-Diatkin (fr)[47]
  • Hélène Scheps (Irène Szal)[48]
  • Helga Schiessel, piano, Jewish, German[49]
  • Ruth Schiessel, Jewish, German[17]
  • Flora Schrijver-Jacobs[35][50][51]
  • Violette Jacquet Silberstein (Florette Fenet)[47][52] violin,[21] violin, Jewish, born in Romania[52]
  • Helen Spitzer Tichauer[53]
  • Eva Steiner (Ewa Stern), Transylvania [present-day Romania], Jewish, singer [48]
  • Madam Steiner, mother of Eva, Transylvania [present-day Romania], Jewish, violinist
  • Ewa Stojowska, Polish[54]
  • Ioulia "Julie" Stroumsa, Jewish, Greek (murdered in Bergen-Belsen)[29]
  • Szura, guitar, Ukraine[42]
  • Carla Wagenberg, Tamar Berger, Jewish, German, sister of Sylvia Wagenberg[55]
  • Sylvia Wagenberg, Jewish, German[36][55]
  • Irena Walaszczyk[56]
  • Jadwiga Zatorska, violin, Polish[28]
  • Rachela Zelmanowicz-Olewski, mandolin, Jewish, Poland[42]

Notes

  1. ^ Music and the Holocaust (website): "In June 1943 the orchestra began their primary assignment of playing at the camp gate for the arrival and departure of the female work commandos. The musicians had to arrive at their positions at the entrance of camp early, in order to set up, and stayed late. They were also not freed from normal work assignments, nor were they released from musical duty in rain or bad weather. As they had a very small number of pieces which they were equipped to play, they would simply repeat them over and over as the rows of women prisoners marched by, sometimes playing for several hours. They also played for sick prisoners in the infirmary, and were sometimes assigned to play when new transports arrived, or during selections."[7]

References

  1. ^ Knapp, Gabriele (1996). Das Frauenorchester in Auschwitz: Musikalische Zwangsarbeit und ihre Bewältigung. Hamburg: Von Bockel. ISBN 9783928770712.
  2. ^ Eischeid, Susan (2016). The Truth about Fania Fénelon and the Women's Orchestra of Auschwitz-Birkenau. London: Palgrave Macmillan. pp. 5–6. ISBN 978-3-319-31037-4.
  3. ^ Porter, Cecelia H. (Winter 1999). "Das Frauenorchester in Auschwitz: Musikalische Zwangsarbeit und ihre Bewältigung Gabriele Knapp". Holocaust and Genocide Studies. 13 (3): (467–469), 467. doi:10.1093/hgs/13.3.467.
  4. ^ a b Fenelon, Fania (1976). Sursis pour l'orchestre. Paris: Stock. OCLC 480429240.
  5. ^ a b Fénelon, Fania, with Marcelle Routier (1997). Playing for Time. New York: Syracuse University Press. ISBN 0-8156-0494-7. First published in English as Fenelon, Fania; Routier, Marcelle (1977). Playing for Time. New York: Berkley Books. ISBN 9780425067567.
  6. ^ Eischeid 2016, p. 5.
  7. ^ a b c "Zofia Czajkowska". Music and the Holocaust. from the original on 11 May 2019.
  8. ^ a b Eischeid 2016, p. 6.
  9. ^ a b Eischeid 2016, p. ix.
  10. ^ Moss, Stephen (13 January 2005). "Anita Lasker Wallfisch". The Guardian.
  11. ^ a b Eischeid 2016, p. 128.
  12. ^ a b c d e f Porter 1999, p. 468.
  13. ^ a b Lebrecht, Norman (5 April 2000). . The Daily Telegraph. Archived from the original on 12 May 2016.
  14. ^ a b Eischeid 2016, p. 8.
  15. ^ a b c Knapp 1996, p. 75.
  16. ^ a b Lagerwey, Mary Deane (1998). Reading Auschwitz. Altamira Press, p. 28. ISBN 0-7619-9187-5
  17. ^ a b c Knapp 1996, p. 150.
  18. ^ Anderson, Susan Heller (7 January 1978). "Memories of a Nazi Camp, Where a Musical Gift Meant Survival". The New York Times.
  19. ^ Eischeid 2016, p. 3.
  20. ^ Knapp 1996, pp. 68, 89, 100; Eischeid 2016, p. 7.
  21. ^ a b Eischeid 2016, p. 7.
  22. ^ Knapp 1996, p. 71.
  23. ^ "Alma Rosé". Music and the Holocaust. from the original on 11 May 2019.
  24. ^ Eischeid 2016, p. 93.
  25. ^ Knapp 1996, p. 69.
  26. ^ Eischeid 2016, p. 120.
  27. ^ Knapp 1996, pp. 67, 89, 90, 100.
  28. ^ a b Knapp 1996, pp. 68, 104.
  29. ^ a b c Knapp 1996, pp. 68, 150.
  30. ^ Eischeid 2016, p. 9.
  31. ^ "Bookstore". Auschwitz-Birkenau Memorial and Museum.
  32. ^ Eischeid 2016, p. 2.
  33. ^ Anderson, Susan Heller (7 January 1978). "Memories of a Nazi Camp, Where a Musical Gift Meant Survival". The New York Times.
  34. ^ "Fania Fénelon". Music and the Holocaust. from the original on 19 June 2019.
  35. ^ a b c Knapp 1996, p. 106.
  36. ^ a b Knapp 1996, p. 100.
  37. ^ Knapp 1996, pp. 69, 100.
  38. ^ Eischeid 2016, p. 137.
  39. ^ "Fanny Kornblum". Holocaust Survivors and Victims Database, United States Holocaust Memorial Museum.
  40. ^ Knapp 1996, pp. 75, 167.
  41. ^ Eischeid 2016, pp. 19, 94, 118.
  42. ^ a b c d Knapp 1996, p. 68.
  43. ^ Knapp 1996, pp. 68, 89, 104.
  44. ^ Knapp 1996, p. 104.
  45. ^ Eischeid 2016, p. 35.
  46. ^ Eischeid 2016, p. 101.
  47. ^ a b Eischeid 2016, p. 58.
  48. ^ a b Eischeid 2016, p. 19.
  49. ^ Knapp 1996, pp. 75, 150.
  50. ^ de Waard, Peter (24 April 2013). "Het accordeonmeisje dat Auschwitz overleefde". de Volkskrant.
  51. ^ Funnekotter, Bart (4 May 2012). "Concentratiekamp overleefd dankzij accordeon". nrc.nl.
  52. ^ a b Herzberg, Nathaniel (14 October 2016). "Violette Jacquet-Silberstein (1925–2014), sept décennies de bonheur après Auschwitz". Le Monde.
  53. ^ Eischeid 2016, pp. 18–19.
  54. ^ Knapp 1996, pp. 75, 168.
  55. ^ a b Grossert, Werner (2005). Carla und Sylvia Wagenberg: zwei Dessauer jüdische Mädchen im "Mädchenorchester" des Vernichtungslagers Auschwitz-Birkenau; eine Dokumentation. Dessau-Roßlau: Funk-Verlag. OCLC 609936332.
  56. ^ Knapp 1996, p. 89.

Further reading

External links

  • "The Girls in the Auschwitz Band". thegirlsintheauschwitz.band (names of band members and some information).
  • . Radio Bremen. 10 December 2004. Archived from the original on 27 March 2005.

Films

  • Linda Yellen (1980). Playing for Time. Television film based on Arthur Miller's stage adaptation.
  • Christel Priemer (1992). Esther Bejarano and the girl orchestra of Auschwitz.
  • Michel Daeron (2000). Bach in Auschwitz.

Books

  • Fania Fénelon and Marcelle Routier. Playing for Time. Translated from the French by Judith Landry. Atheneum New York 1977. ISBN 0-689-10796-X.
  • Fania Fénelon and Marcelle Routier. Sursis pour l'orchestre. Témoignage recueilli par Marcelle Routier. Co-édition Stock/Opera Mundi. Paris 1976. ISBN 0-689-10796-X.
  • Esther Bejarano and Birgit Gärtner. Wir leben trotzdem. Esther Bejarano--vom Mädchenorchester in Auschwitz zur Künstlerin für den Frieden. Herausgegeben vom Auschwitz-Komitee in der Bundesrepublik Deutschland [We Live Nevertheless] e.V. Pahl-Rugenstein Verlag Bonn, 2007. ISBN 3-89144-353-6
  • Esther Bejarano, Man nannte mich Krümel. Eine jüdische Jugend in den Zeiten der Verfolgung. Herausgegeben vom Auschwitz-Komitee in der Bundesrepublik e.V. Curio-Verlag Hamburg 1989. ISBN 3-926534-82-6
  • Richard Newman and Karen Kirtley, Alma Rosé. Vienna to Auschwitz. Amadeus Press Portland Oregon 2000. ISBN 1-57467-051-4
  • Anita Lasker-Wallfisch, Inherit the Truth. A Memoir of Survival and the Holocaust. St. Martin's Press New York 2000. ISBN 0-312-20897-9
  • Gabriele Knapp, Das Frauenorchester in Auschwitz. Musikalische Zwangsarbeit und ihre Bewältigung. von Bockel Verlag Hamburg 1996. ISBN 3-928770-71-3
  • Violette Jacquet-Silberstein and Yves Pinguilly, Les sanglots longs des violons... Avoir dix-huit ans à Auschwitz. Publié par les éditions Oskarson (Oskar jeunesse) Paris 2007. Previously published with the title Les sanglots longs des violons de la mort. ISBN 978-2-35000-162-3
  • Jacques Stroumsa. Violinist in Auschwitz. From Salonica to Jerusalem 1913-1967. Translated from German by James Stewart Brice. Edited by Erhard Roy Wiehn. Hartung-Gorre Verlag. Konstanz (mentions Julie Stroumsa)
  • Mirjam Verheijen. Het meisje met de accordion: de overleving van Flora Schrijver in Auschwitz-Birkenau en Bergen-Belsen. Uitgeverij Scheffers Utrecht 1994. ISBN 90-5546-011-7
  • Rachela Zelmanowicz Olewski. Crying is Forbidden Here! A Jewish Girl in pre-WWII Poland, The Women's Orchestra in Auschwitz and Liberation in Bergen-Belsen. Edited by Arie Olewski and his sister Jochevet Ritz-Olewski. Based on her Hebrew testimony, recorded by Yad-Vashem on 21 May 1984. Published at the Open University of Israel 2009. ISBN 978-965-91217-2-4
  • Jean-Jacques Felstein. Dans l'orchestre d'Auschwitz - Le secret de ma mère. Auzas Éditions Imago Paris 2010. ISBN 978-2-84952-094-9
  • Bruno Giner. Survivre et mourir en musique dans les camps nazis. Éditions Berg International 2011. ISBN 978-2-917191-39-2

February 04, 2023
women, orchestra, auschwitz, mädchenorchester, auschwitz, girls, orchestra, auschwitz, formed, order, 1943, during, holocaust, auschwitz, birkenau, extermination, camp, german, occupied, poland, active, months, from, april, 1943, until, october, 1944, orchestr. The Women s Orchestra of Auschwitz Madchenorchester von Auschwitz lit Girls Orchestra of Auschwitz was formed by order of the SS in 1943 during the Holocaust in the Auschwitz II Birkenau extermination camp in German occupied Poland 1 2 Active for 19 months from April 1943 until October 1944 the orchestra consisted of mostly young female Jewish and Slavic prisoners of varying nationalities who would rehearse for up to ten hours a day to play music regarded as helpful in the daily running of the camp They also held a concert every Sunday for the SS 3 Auschwitz Women s OrchestraMadchenorchester von AuschwitzAuschwitz II Birkenau extermination campTypePrison orchestraLocationAuschwitz II Birkenau Brzezinka German occupied PolandCoordinates50 02 09 N 19 10 42 E 50 03583 N 19 17833 E 50 03583 19 17833 Coordinates 50 02 09 N 19 10 42 E 50 03583 N 19 17833 E 50 03583 19 17833PeriodApril 1943 October 1944ConductorsZofia Czajkowska Alma Rose Sonia WinogradowaNotable playersEsther Bejarano Helena Dunicz Niwinska Fania Fenelon Claire Monis Helene Rounder Anita Lasker Wallfisch Helen Spitzer TichauerA member of the orchestra Fania Fenelon published her experiences as an autobiography Sursis pour l orchestre 1976 4 which appeared in English as Playing for Time 1977 5 The book was the basis of a television film of the same name in 1980 written by Arthur Miller Contents 1 Formation 2 Conductors 3 Move to Bergen Belsen 4 Books 5 List of members 5 1 Conductors 5 2 Players 6 Notes 7 References 8 Further readingFormation EditThe orchestra was formed in April 1943 by SS Oberaufseherin Maria Mandl supervisor of the women s camp in Auschwitz and SS Hauptsturmfuhrer Franz Hossler the women s camp commandant 6 The Germans wanted a propaganda tool for visitors and camp newsreels and a tool to boost camp morale Led at first by a Polish music teacher Zofia Czajkowska the orchestra remained small until Jews were admitted in May 1943 Its members came from many countries including Austria Belgium Czechoslovakia France Germany Greece Hungary Poland the Netherlands and USSR 7 8 Anita Lasker Wallfisch 9 cellist 10 Esther Bejarano pianist accordion player singer 11 According to professor of music Susan Eischeid the orchestra had 20 members by June 1943 by 1944 it had 42 47 players and 3 4 musical copyists 8 Its primary role was to play often for hours on end in all weather conditions at the gate of the women s camp when the work gangs left and returned They might also play during selection and in the infirmary a In the early months the ensemble consisted mainly of amateur musicians with a string section accordions and a mandolin it lacked a bass section The orchestra acquired its limited instruments and sheet music from the men s orchestra of the main Auschwitz camp citation needed The repertoire of the orchestra was fairly limited in terms of the available sheet music the knowledge of the conductor and the wishes of the SS It played mostly German marching songs as well as the Polish folk and military songs that Czajkowska knew It included two professional musicians cellist Anita Lasker Wallfisch and vocalist pianist Fania Fenelon each of whom wrote memoirs of their time in the orchestra Wallfisch for example recollected being told to play Schumann s Traumerei for Josef Mengele citation needed Conductors EditThe first conductor Zofia Czajkowska a Polish music teacher was active from April 1943 until she was replaced by Alma Rose an Austrian Jewish violinist in August that year 12 The daughter of Arnold Rose leader of the Vienna Philharmonic Orchestra and niece of Gustav Mahler 12 Rose had been the conductor of the Wiener Walzermadeln a small orchestra in Vienna and had arrived in Auschwitz from the Drancy internment camp in Paris 13 By January 1944 the orchestra had 47 members including five singers Rose died suddenly on 5 April 1944 possibly from food poisoning after having dinner with a kapo an inmate with special privileges 12 14 The third conductor was Sonia Winogradowa a Ukrainian pianist 15 12 For several reasons including reduced rehearsal time and Winogradowa s lack of experience the orchestra s performance declined It stopped performing in October 1944 12 Move to Bergen Belsen EditOn 1 November 1944 the Jewish members of the women s orchestra were evacuated by cattle car to the Bergen Belsen concentration camp in Germany where there was neither orchestra nor special privileges 16 Three members Charlotte Lola Croner Julie Stroumsa and Else were murdered there 17 On 18 January 1945 non Jewish women in the orchestra including several Poles were evacuated to Ravensbruck concentration camp 16 Fenelon was interviewed by the BBC on 15 April 1945 the day of Bergen Belsen s liberation by British troops and sang La Marseillaise and God Save the King 18 Books EditThe best known publication about the orchestra is Fania Fenelon s memoir Playing for Time 1977 5 first published in Paris as Sursis pour l orchestre 1976 4 The memoir and subsequent TV adaptation assumed an important place in Holocaust scholarship This was a source of frustration to other survivors of the orchestra who disagreed with Fenelon s representation of the orchestra particularly her portrayal of Alma Rose and several other musicians and the diminishment by Fenelon of their bond and support for one another 19 Fenelon presents Rose as a cruel disciplinarian and self hating Jew who admired the Nazis and courted their favor A biography Alma Rose From Vienna to Auschwitz 2000 by Rose family friend Richard Newman and Karen Kirtley presents a different picture 13 List of members EditListed alphabetically by birth name or by first name where no surname is known Conductors Edit Zofia Czajkowska 20 Polish music teacher first conductor conducted until August 1943 7 Alma Rose violin 21 Austrian second conductor 22 died 5 April 1944 14 23 Sonia Winogradowa copyist piano voice 15 Ukrainian third conductor 12 Players Edit Margot Anzenbacher later Vetrovcova guitar Czech 24 Lilly Assael Jewish Greek 25 Yvette Assael later Lennon Greek 26 Stefania Baruch music teacher played guitar and mandolin 27 Esther Lowey Bejarano Sarah Weiss pianist singer accordion 11 Zofia Cykowiak Zocha Nowak Polish 28 Henryka Czapla Polish 29 Helena Dunicz Niwinska Halina Opielka 30 violin Polish Nr 64118 author of One of the Girls in the Band The Memoirs of a Violinist from Birkenau 2014 31 Fania Fenelon 32 piano and voice French Nr 74862 author of Sursis pour l orchestre 1976 33 34 Henryka Galazka violin Polish 29 Marta Goldstein 35 Hilde Grunbaum 36 Danuta Kollakowa drums piano Polish 37 Fanny Kornblum later Birkenwald 38 39 Marie Kroner murdered in Auschwitz 17 Regina Kupferberg later Rivka Bacia Jewish 40 41 Irena Lagowska Polish 42 Maria Langenfeld Polish 43 Anita Lasker Wallfisch Marta Goldstein cello Jewish 9 Lotta Lebedova Jewish from Bohemia 15 Kazimiera Malys 44 Lily Mathe fr Hungarian 35 Elsa Miller later Felstein violin Belgian Jewish 42 Claire Monis French fr 45 Maria Mos Wdowik Polish 46 Helene Rounder Diatkin fr 47 Helene Scheps Irene Szal 48 Helga Schiessel piano Jewish German 49 Ruth Schiessel Jewish German 17 Flora Schrijver Jacobs 35 50 51 Violette Jacquet Silberstein Florette Fenet 47 52 violin 21 violin Jewish born in Romania 52 Helen Spitzer Tichauer 53 Eva Steiner Ewa Stern Transylvania present day Romania Jewish singer 48 Madam Steiner mother of Eva Transylvania present day Romania Jewish violinist Ewa Stojowska Polish 54 Ioulia Julie Stroumsa Jewish Greek murdered in Bergen Belsen 29 Szura guitar Ukraine 42 Carla Wagenberg Tamar Berger Jewish German sister of Sylvia Wagenberg 55 Sylvia Wagenberg Jewish German 36 55 Irena Walaszczyk 56 Jadwiga Zatorska violin Polish 28 Rachela Zelmanowicz Olewski mandolin Jewish Poland 42 Notes Edit Music and the Holocaust website In June 1943 the orchestra began their primary assignment of playing at the camp gate for the arrival and departure of the female work commandos The musicians had to arrive at their positions at the entrance of camp early in order to set up and stayed late They were also not freed from normal work assignments nor were they released from musical duty in rain or bad weather As they had a very small number of pieces which they were equipped to play they would simply repeat them over and over as the rows of women prisoners marched by sometimes playing for several hours They also played for sick prisoners in the infirmary and were sometimes assigned to play when new transports arrived or during selections 7 References Edit Knapp Gabriele 1996 Das Frauenorchester in Auschwitz Musikalische Zwangsarbeit und ihre Bewaltigung Hamburg Von Bockel ISBN 9783928770712 Eischeid Susan 2016 The Truth about Fania Fenelon and the Women s Orchestra of Auschwitz Birkenau London Palgrave Macmillan pp 5 6 ISBN 978 3 319 31037 4 Porter Cecelia H Winter 1999 Das Frauenorchester in Auschwitz Musikalische Zwangsarbeit und ihre Bewaltigung Gabriele Knapp Holocaust and Genocide Studies 13 3 467 469 467 doi 10 1093 hgs 13 3 467 a b Fenelon Fania 1976 Sursis pour l orchestre Paris Stock OCLC 480429240 a b Fenelon Fania with Marcelle Routier 1997 Playing for Time New York Syracuse University Press ISBN 0 8156 0494 7 First published in English as Fenelon Fania Routier Marcelle 1977 Playing for Time New York Berkley Books ISBN 9780425067567 Eischeid 2016 p 5 a b c Zofia Czajkowska Music and the Holocaust Archived from the original on 11 May 2019 a b Eischeid 2016 p 6 a b Eischeid 2016 p ix Moss Stephen 13 January 2005 Anita Lasker Wallfisch The Guardian a b Eischeid 2016 p 128 a b c d e f Porter 1999 p 468 a b Lebrecht Norman 5 April 2000 The true humanity of Alma Rose The Daily Telegraph Archived from the original on 12 May 2016 a b Eischeid 2016 p 8 a b c Knapp 1996 p 75 a b Lagerwey Mary Deane 1998 Reading Auschwitz Altamira Press p 28 ISBN 0 7619 9187 5 a b c Knapp 1996 p 150 Anderson Susan Heller 7 January 1978 Memories of a Nazi Camp Where a Musical Gift Meant Survival The New York Times Eischeid 2016 p 3 Knapp 1996 pp 68 89 100 Eischeid 2016 p 7 a b Eischeid 2016 p 7 Knapp 1996 p 71 Alma Rose Music and the Holocaust Archived from the original on 11 May 2019 Eischeid 2016 p 93 Knapp 1996 p 69 Eischeid 2016 p 120 Knapp 1996 pp 67 89 90 100 a b Knapp 1996 pp 68 104 a b c Knapp 1996 pp 68 150 Eischeid 2016 p 9 Bookstore Auschwitz Birkenau Memorial and Museum Eischeid 2016 p 2 Anderson Susan Heller 7 January 1978 Memories of a Nazi Camp Where a Musical Gift Meant Survival The New York Times Fania Fenelon Music and the Holocaust Archived from the original on 19 June 2019 a b c Knapp 1996 p 106 a b Knapp 1996 p 100 Knapp 1996 pp 69 100 Eischeid 2016 p 137 Fanny Kornblum Holocaust Survivors and Victims Database United States Holocaust Memorial Museum Knapp 1996 pp 75 167 Eischeid 2016 pp 19 94 118 a b c d Knapp 1996 p 68 Knapp 1996 pp 68 89 104 Knapp 1996 p 104 Eischeid 2016 p 35 Eischeid 2016 p 101 a b Eischeid 2016 p 58 a b Eischeid 2016 p 19 Knapp 1996 pp 75 150 de Waard Peter 24 April 2013 Het accordeonmeisje dat Auschwitz overleefde de Volkskrant Funnekotter Bart 4 May 2012 Concentratiekamp overleefd dankzij accordeon nrc nl a b Herzberg Nathaniel 14 October 2016 Violette Jacquet Silberstein 1925 2014 sept decennies de bonheur apres Auschwitz Le Monde Eischeid 2016 pp 18 19 Knapp 1996 pp 75 168 a b Grossert Werner 2005 Carla und Sylvia Wagenberg zwei Dessauer judische Madchen im Madchenorchester des Vernichtungslagers Auschwitz Birkenau eine Dokumentation Dessau Rosslau Funk Verlag OCLC 609936332 Knapp 1996 p 89 Further reading EditExternal links The Girls in the Auschwitz Band thegirlsintheauschwitz band names of band members and some information The Wooden Shoes Horspiel mit Esther Bejarano Radio Bremen 10 December 2004 Archived from the original on 27 March 2005 Films Linda Yellen 1980 Playing for Time Television film based on Arthur Miller s stage adaptation Christel Priemer 1992 Esther Bejarano and the girl orchestra of Auschwitz Michel Daeron 2000 Bach in Auschwitz Books Fania Fenelon and Marcelle Routier Playing for Time Translated from the French by Judith Landry Atheneum New York 1977 ISBN 0 689 10796 X Fania Fenelon and Marcelle Routier Sursis pour l orchestre Temoignage recueilli par Marcelle Routier Co edition Stock Opera Mundi Paris 1976 ISBN 0 689 10796 X Esther Bejarano and Birgit Gartner Wir leben trotzdem Esther Bejarano vom Madchenorchester in Auschwitz zur Kunstlerin fur den Frieden Herausgegeben vom Auschwitz Komitee in der Bundesrepublik Deutschland We Live Nevertheless e V Pahl Rugenstein Verlag Bonn 2007 ISBN 3 89144 353 6 Esther Bejarano Man nannte mich Krumel Eine judische Jugend in den Zeiten der Verfolgung Herausgegeben vom Auschwitz Komitee in der Bundesrepublik e V Curio Verlag Hamburg 1989 ISBN 3 926534 82 6 Richard Newman and Karen Kirtley Alma Rose Vienna to Auschwitz Amadeus Press Portland Oregon 2000 ISBN 1 57467 051 4 Anita Lasker Wallfisch Inherit the Truth A Memoir of Survival and the Holocaust St Martin s Press New York 2000 ISBN 0 312 20897 9 Gabriele Knapp Das Frauenorchester in Auschwitz Musikalische Zwangsarbeit und ihre Bewaltigung von Bockel Verlag Hamburg 1996 ISBN 3 928770 71 3 Violette Jacquet Silberstein and Yves Pinguilly Les sanglots longs des violons Avoir dix huit ans a Auschwitz Publie par les editions Oskarson Oskar jeunesse Paris 2007 Previously published with the title Les sanglots longs des violons de la mort ISBN 978 2 35000 162 3 Jacques Stroumsa Violinist in Auschwitz From Salonica to Jerusalem 1913 1967 Translated from German by James Stewart Brice Edited by Erhard Roy Wiehn Hartung Gorre Verlag Konstanz mentions Julie Stroumsa Mirjam Verheijen Het meisje met de accordion de overleving van Flora Schrijver in Auschwitz Birkenau en Bergen Belsen Uitgeverij Scheffers Utrecht 1994 ISBN 90 5546 011 7 Rachela Zelmanowicz Olewski Crying is Forbidden Here A Jewish Girl in pre WWII Poland The Women s Orchestra in Auschwitz and Liberation in Bergen Belsen Edited by Arie Olewski and his sister Jochevet Ritz Olewski Based on her Hebrew testimony recorded by Yad Vashem on 21 May 1984 Published at the Open University of Israel 2009 ISBN 978 965 91217 2 4 Jean Jacques Felstein Dans l orchestre d Auschwitz Le secret de ma mere Auzas Editions Imago Paris 2010 ISBN 978 2 84952 094 9 Bruno Giner Survivre et mourir en musique dans les camps nazis Editions Berg International 2011 ISBN 978 2 917191 39 2 Retrieved from https en wikipedia org w index php title Women 27s Orchestra of Auschwitz amp oldid 1131721383, wikipedia, wiki, book, books, library,

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