Heidelberg, Univ., Diss., 2006.

No description available.

abstract: Even in the most despondent situations, the arts find a way to flourish. This research document examines the vocal music that Viktor Ullmann composed in the concentration camp-ghetto of Theresienstadt in German-occupied Czechoslovakia, and the notable aspects of his compositional writing style. Although his opera Der Kaiser von Atlantis has been performed globally, the remainder of his oeuvre has rarely been recorded or performed. Singers often shy away from twentieth-century composers such as Ullmann, with claims that the music is not lyrical or relatable. Perhaps the irregularity of the meter, rhythms, or intervals seem too daunting for many to consider attempting a performance. With Confined, But Not Silenced: Vocal Music of Viktor Ullmann from the Theresienstadt Ghetto, I hope to open the door to music that is both accessible and uniquely beautiful. Not intended as a performance guide, this document aims instead at unearthing the appeal of music that is often perceived as unusual and difficult to perform through analysis that emphasizes relatable aspects of the compositions. By exposing colleagues to relatable music by a composer such as Ullmann, that has not normally been integrated in the canon, the boundaries of standard vocal repertoire can be expanded to include unconventional contemporary compositions. In addition to highlighting specific musical examples, Confined, But Not Silenced focuses on music’s positive effects for World War II prisoners in Theresienstadt. / Dissertation/Thesis / Doctoral Dissertation Music 2018

Viktor Ullmann's Terezín Lieder: A Performance Guide to Songs for Soprano or High Voice is, as the title states, a detailed guide of nine songs composed while Ullmann was imprisoned in the Terezín Ghetto from 1942-1944. This dissertation also proves that although he was incarcerated in terrible and inhumane conditions, Ullmann, among others, was able to compose music highly artistic in style and value. The songs and sets included in this document are "Wendla im Garten" (1918/1943), Hölderlin Lieder (1943/1944), Lieder der Tröstung (1943), and Drei jiddische Lieder/Březulinka Op. 53 (1944). Included is the history of Terezín before and during World War II, the camp's musical output, and a concise biographical background of Viktor Ullmann's life. A brief biography of each poet or writer (Frank Wedekind, Friedrich Hölderlin, Albert Steffen, David Einhorn, and Zalman Shneour) is given along with a discussion as to why Ullmann chose particular poems and prose. The importance anthroposophy had on his life and his musical output is also explored. The original text of each poem or prose is given with a poetic translation. In addition, the texts presented in Ullmann's scores are provided with a word for word translation and International Phonetic Alphabet pronunciation guide. A style guide to various elements - e.g. melody, harmony, range, accompaniment, etc. - in each song is also provided in hopes of allowing these songs to be more approachable and accessible. Finally, lists of various foundations dedicated to the life and music of Viktor Ullmann and the Holocaust, as well as Ullmann lieder scores and recordings are provided.

No description available.

Thesis (doctoral)--Universität Köln, 2002. / Includes bibliographical references (p. 219-229).

Theresienstadt gehört zu den bekanntesten Haftstätten des „Dritten Reiches“. Der Name steht als Chiffre für die nationalsozialistische Segregation, Verfolgung und Ermordung der Juden. Doch hinter dem plakativ gebrauchten Terminus verschwinden vielfach die Geschichte und der historische Ort. Bis heute existiert keine den neuesten Forschungsstand rezipierende Gesamtdarstellung. Nicht zuletzt aus diesem Grund wurde 2012 die umfangreiche Arbeit von H.G. Adler aus dem Jahr 1955 noch einmal aufgelegt. Adler gehörte als ehemaliger Insasse zu den direkt Betroffenen. Von dessen Studie setzt sich Wolfgang Benz verständnisvoll, doch pointiert ab. Unter Berücksichtigung der aktuellen Literatur gelingt ihm ein ausgewogener Blick auf die Gemeinschaft der Inhaftierten, die als „Zwangsgemeinschaft“ auch im Mittelpunkt der Untersuchung Adlers gestanden hatte. Benz’ Darstellung erweist sich so auch als Zwiegespräch mit dem wirkmächtigen Vorläufer.

Diss.--Philosophie--Köln, 2002. / Bibliogr. p. 219-229.

Viktor Ullmann’s opera Der Kaiser von Atlantis, composed in the Theresienstadt concentration camp in 1943-44, has received regular performances since its belated first performance in 1975. Research on this opera has largely been restricted to the confines of Theresienstadt, with limited connections made to the outside world. Nevertheless, when Ullmann’s work is viewed within the artistically evolving context of the interwar period – a formative era in Ullmann’s life – new light is shed on his artistic achievements. This era of change between 1919 and 1930 gave rise to new artistic movements such as Neue Sachlichkeit and produced the genres of Zeitoper, Brechtian Epic Theatre,” and Kabarett. Artists of staged works used their artistic freedom to challenge audiences, most obviously with techniques such as Bertolt Brecht’s “Verfremdungseffekt.” In the freedom of the newly established Republics, political commentary and the representation of contemporary life became the source material for libretti. It is within this era that we find the inspiration and source of Ullmann’s representation of Theresienstadt within Der Kaiser von Atlantis. Indeed, examining the opera within the context of the interwar period expands many elements beyond the representation of Theresienstadt. By investigating the inherent symbolisms within the opera to the spirit of the new Republics, we can re-contextualize the modest but growing place Der Kaiser von Atlantis holds in the operatic repertoire. For it is only by combining these two radically contrasting worlds – the freedoms associated with the artistic experiments in liberal democracy typical of the interwar period and the restrictions of detention in Theresienstadt at the hands of the National Socialists – that a robust understanding of the mastery of defiance and irony that is Der Kaiser von Atlantis becomes possible. / Graduate / 0413 / mbuckton@hotmail.com

This disertation is entiteled by "Spiritual and cultural life in the Terezin ghetto 1941 - 1945". The thesis is divided into four chapters. The first part persues to a short introduction of a historical context which lead to formation of the ghetto. The next chapter deals with the Terezin ghetto. There is mentioned a few curcumstances of creation of it, living conditions, which were in it and also a nazi propaganda. The third part is followed up with the spitirual life in ghetto, how it all had been practised and there is also an effort to define a meaning of the spiritual life for people in the ghetto. The last chapter deals with the cultural life, which were developed in the Terezin ghetto. There is described how the cultural life in Terezin had started and also the greatest pieces of art, which were created on a ground of the ghetto. The chosed metodology for this disertation is an analyse of documentations which are preserved after survivors and then the analyse of professional literature which were written about a topic of this thesis.