Why the New ‘Holocaust Music’ Is an Insult to Music—and to Victims of the Shoah

[from the Tablet]

A recent wave of performances turns Jewish composers into shadow images defined only by their status as Hitler’s victims.

In the never-ending search for ways to remember the Holocaust, the newest media contrivance to appear is “Holocaust Music.” National Public Radio recently profiled an Italian conductor who has embarked on a quixotic campaign to record every note of music composed inside a Nazi concentration camp. Two months ago, New York’s Lincoln Center played host to the Defiant Requiem, a traveling revue that presents a dramatic reenactment of a performance of Verdi’s Requiem that took place in the Terezin concentration camp during World War II. The concert tour has crisscrossed the globe, with headquarters in a summer institute in the Czech Republic. A related documentary film has aired on PBS. On the face of it, these artistic efforts certainly sound legitimate. Aren’t they merely the musical analogue to the literature depicting the horrors of the Holocaust?

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