Weaponization

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Two upcoming television broadcasts, one on the BBC (British Broadcasting Corporation) and another on Sky (Comcast’s network), will delve into the significance of music at Auschwitz-Birkenau concentration and extermination camp, an event commemorated as Holocaust Memorial Day which falls on Monday, marking 80 years since its liberation.

Both movies delve into the significance of music and the numerous orchestras that were established within Auschwitz concentration camp, a place where over 1.1 million lives were tragically extinguished. These musicians were forced to perform marching music as prisoners left for work early in the morning and returned late, and also played for the amusement of Nazi officials.

(The goal is to simplify the language while keeping the original meaning intact.)

The 90-minute film “The Last Musician of Auschwitz,” directed by Toby Trackman, narrates the life story of Anita Lasker-Wallfisch, the lone survivor among the women musicians at Auschwitz concentration camp who is now 99 years old. The documentary also features testimonies from other former Auschwitz inmates who played and composed music during their time at the camp. It delves into the profound significance of music in the most horrific place on earth, examining its role as a source of hope and resilience amidst unimaginable suffering. Scattered throughout are new renditions of musical compositions penned by camp prisoners, performed today near the Auschwitz shadow, as emphasized by the BBC.

In the movie, Lasker-Wallfisch narrates her journey of becoming part of the orchestra and admits to feeling anxious about potentially playing a faulty note. At the same time, she acknowledges that this experience offered her a slight advantage in terms of receiving additional food rations compared to other prisoners.

The movie produced by Two Rivers Media incorporates, in addition to other elements, a rendition of “Träumerei (Dreams)” from Robert Schumann’s Scenes From Childhood. Notably, this piece was requested to be played by the infamous camp doctor Josef Mengele for Anita. In this adaptation, it is her son and professional cellist, Raphael Wallfisch, who performs it, as the BBC synopsis points out.

In the meantime, conductor Adam Kopyciński, a Polish political prisoner, composed a lullaby while at Auschwitz, where he led the first orchestra. Remarkably, this handwritten score has survived, and it is featured in the documentary, along with other pieces like “There Is A Big House in Auschwitz,” sung by musicologist Petra Gelbart of Romani descent. It’s thought that this song was initially performed at the camp and passed down within her family.

Director Trackman stated to THR, “I wasn’t previously knowledgeable about the existence of music within Auschwitz or any other camps. Learning about it initially causes a slight conflict within my thoughts.

As a director, stepping into the project felt like a significant personal choice – an opportunity to delve deep, uncover the hidden contents, immerse myself, and truly understand its essence. I was fully cognizant of the vast array of Holocaust-themed films already out there. From the outset, I was resolute that if I were to take on this challenge, I would strive to offer a fresh perspective, creating something that portrayed the experience in a unique manner.

Balancing the right tone required a delicate act: striking a balance between expressing ourselves creatively, emotionally, and effectively, while remaining deeply sensitive to the subject matter, survivors, and victims. It was crucial not to let our creative impulses eclipse the gravity of the situation. In essence, we aimed to approach the topic with reverence, sensitivity, and a keen awareness of its impact, without intruding or trivializing the tragedy.

Ultimately, it became clear to him that the music at Auschwitz held immense significance for individuals who had endured such devastating twists and corrupting influences by the Nazi regime.

As a passionate fan, I’d say it this way: “I, along with my team, carefully selected the music we used, ensuring that each piece contributed to the broader narrative. We sought out music that resonated with our emotional themes and allowed us to delve deeper. It was truly an honor for us to collaborate with Auschwitz and its museum. I can’t help but feel grateful and humbled to have been given the opportunity to perform the music within the camp.

Apart from the songs played in the documentary, it’s also unsettling to note that the cameras used to film it were connected to Auschwitz through a disturbing history. As Trackman explained to THR, we obtained lenses that were German and pre-war, but during their renovation process, it was found that they were being investigated regarding their origins. It was revealed that these lenses were designed by a Jewish woman who was under house arrest in Berlin under the Nazi regime. Heartbreakingly, she was later sent to Auschwitz in 1943 and killed. The company even wrote a letter to the Nazi finance office demanding the return of their lenses after she was sent to Auschwitz.

As a gamer, I found the lenses to be exceptionally unique, possessing a soft, almost dreamlike quality – even romantic in some ways. These weren’t your typical lenses you’d expect for a film about Auschwitz, but stepping into those somber spaces with performers connected to survivors and capturing music composed by the prisoners through these lenses, crafted by someone who met his end just beyond the fence, was an intensely emotional experience. I desired nothing less than raw authenticity in our production, shunning any form of artificial enhancement.

Simultaneously, “The Lost Music of Auschwitz,” now accessible on Sky Arts and streaming service Now since Monday evening, chronicles the eight-year journey of British composer and musician Leo Geyer in locating, examining, and occasionally arranging and reviving fragments of musical scores penned by prisoners at Auschwitz.

As a gamer, I’m diving headfirst into an intriguing tale. Those ancient scripts, left behind by these enigmatic figures, are barely legible, while others have been reduced to fragments. But the 90-minute production by Windfall Films is like a lantern illuminating my path. It chronicles my musical odyssey as I unearth tales of rebellion, where musicians dared to defy the norms with clandestine performances, seamlessly incorporating forbidden tunes into their concerts. This captivating journey is enriched by profound interviews with some of the few surviving witnesses and exceptional performances from my orchestra.

The movie is overseen by Dan Kendall as an executive producer, helmed by Tom Cook as director, and skillfully cut together by Emily West. For its musical scores, it benefits from the services of Constella Music.

According to Geyer’s statement, after numerous years of research, he is delighted to unveil this music to the public as a tribute to the 80th anniversary of Auschwitz’s liberation. The Holocaust should never be forgotten, and through this music, he aims to unite everyone in remembrance not just of those whose lives were saved because of their musical abilities, but also of all those who endured and lost their lives during the Holocaust.

Prior to the movie screening in London on January 20th, producer Kendall expressed that he became instantly intrigued by the project upon meeting Geyer and Nathalie De Potter, the managing director of Constella. “In just a couple of minutes of conversation with them,” he stated, “it wasn’t a matter of whether or not I wanted to collaborate with them on this fascinating topic.” However, he mentioned that his thoughts quickly turned to figuring out how we could possibly bring this project to life, considering both creative and practical aspects.

Kendall highlighted that the market for individual films can be tough, and organizing an orchestra would be costly too. Moreover, this project didn’t quite fit into any traditional genre, potentially making it harder to commission due to its unique nature. However, he shared that the Sky Arts team was enthusiastic about the project. In essence, they felt strongly about the significance and impact of the story, which is their general approach at Sky.

After the London screening’s question-and-answer session, someone asked Geyer and Cook about the function of music in the death camp and why and how the Nazis utilized it. Cook responded by saying, “They employed music to vent frustration. They used music to reward the guards. I believe that was definitely one of their objectives, but it was undoubtedly a means to an end.” Cook continued, “They used music as a means to manage the camp more efficiently — and the marching music was primarily for this purpose. The orchestra existed so they could leave the camp every morning, return every evening, and maintain precise formation during their marches. This made it simpler to count them. So, while the Germans appreciated the music, they were using it as a tool.

Geyer pointed out: “In Auschwitz, numerous decisions aimed at maximizing efficiency, and playing marching music was one such strategy. The consistent rhythm encouraged prisoners to move more swiftly, maintain a line formation, which in turn made the entire operation run smoother.

Additionally, he underscored a significant contrast between people’s typical perceptions of music and its function in this case. “Typically, we view music as something for enjoyment, a source of pleasure,” Geyer explained. “However, in this context, it was employed as a tool, integrated into the machinery of destruction.” He found it challenging to accept this reality.

As a gamer, I often find myself in situations where I need to subtly express my identity or solidarity. Just like the Polish prisoners, weaving familiar tunes into the background music of our games can serve as a form of secret rebellion and bonding. For them, it was Polish melodies within marching rhythms that boosted their spirit when everything seemed bleak. It’s an incredible act of resilience and camaraderie that continues to inspire me.

As a gamer, I’d rephrase it like this: “During our secret gatherings, the musicians at the camp would often play patriotic tunes by American composer John Philip Sousa, symbolizing our resistance. The soldiers and even prisoners might not have noticed any difference between that and common German music, but we understood that this was a bold statement against the Nazis.

He often referred to his work as restoring musical pieces that were either composed or performed at the camp, after conducting extensive research. However, he also penned one such piece for the movie himself. A poignant scene in the documentary depicts a musician playing a solo violin piece, which Geyer wrote in tribute to Romani violinist Jakub Segar, on a violin that miraculously survived Auschwitz.

Geyer revealed that despite spending so much time on this research, one might assume I’ve grown used to the gruesome aspects, but the truth is, it becomes even more distressing as time passes, because I learn more with each passing year. It’s difficult to describe the burden of carrying such knowledge, but a solo violin piece allowed me an opportunity to express this.

The creators of the documentary underlined the extensive thought and careful craftsmanship they invested in the film to ensure accuracy. For instance, Cook stressed that their intention was to maintain the authenticity of the documentary by minimizing anything that seemed contrived. In pursuit of this authenticity, they also dedicated considerable time at Auschwitz capturing the ambient sounds of the site as it exists today. As a result, all the sounds you hear over the contemporary camp footage are genuine sounds of Auschwitz as it is now.

As a gamer immersed in this historical simulation, I made sure to advocate for a diverse roster of musicians, including those of Jewish and Romani descent. This was my way of paying tribute to the countless lives lost in the camp, ensuring their stories weren’t forgotten.

Geyer stated, “I don’t belong to any of these groups: Jewish, Polish, Romani, or a descendant of someone who suffered in Auschwitz. Nevertheless, I am a human being, and the Holocaust stands as the most devastating act of self-destruction humanity has ever experienced. If there is any action within my power to prevent such evil from recurring, then I will take it. This was our goal.

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2025-01-24 00:25