Page 53 - Weiss, Jernej, ur./ed. 2026 Skladateljska društva nekoč in danes.../Composers’ Societies Past and Present...

Music in Terezín: Cultural Continuity in Extreme Conditions
This predominance of younger Jews from the Czech lands was reflect-
ed in the musical life of the ghetto in several ways. It influenced not only the
repertoire – where works by composers such as Bedřich Smetana, Antonín
Dvořák, Josef Suk, Vítězslav Novák and Leoš Janáček appeared promi-
nently – but also the language of rehearsals and performances, which was
predominantly Czech. The organisational structures of cultural activities,
including the formation of choirs, chamber ensembles, and later even a
symphony orchestra, were likewise shaped by this milieu. Musicians who
had been active in the Czech lands took on leading roles in the initial stag-
es, drawing upon networks already established in Prague and Brno. Over
time, however, these distinctions gradually diminished, as cultural life in
Theresienstadt came to integrate contributions from a broader spectrum of
deportees.

Musical Life
In Terezín, musical life underwent a series of transformations, from
strict prohibitions on both public and private performances to periods
of cautious tolerance and, eventually, official support. As noted above,
the artistic environment of Theresienstadt reflected a continuation of in-
terwar musical traditions, albeit under vastly different conditions. The
ghetto became a microcosm of prewar Central European cultural life,
where composers, performers, and intellectuals sought ways to sustain
artistic expression despite Nazi repression. Prominent composers such
as Hans Krasa and Viktor Ullmann assumed leadership roles, mentor-
ing younger musicians including Siegmund Schul and Gideon Klein. Ul-
lmann’s “Studio for New Music” functioned as a hub for contemporary
composition. Many works produced in Terezín were composed for spe-
cific performers and premiered within the ghetto – sometimes in front of
fellow prisoners, sometimes even Nazi officials. These personal relation-
ships often played a crucial role in preserving the music. Various formal
and informal musical activities took place. These included Czech and
German cabaret, children’s musical performances, and at least three op-
era companies.
Freizeitgestaltung played a particularly important role in Terezín. The
idea of organising leisure-time activities was already under discussion in
February 1942. This newly established department was intended both to
bring a measure of joy into the lives of the prisoners, and to control or elim-
inate undesirable social manifestations. With the agreement of the camp

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