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Ĭommand singing took place on several occasions while marching, while doing exercises, during roll-call, and on the way to or from work. After several hours’ singing we were often unable to produce another note ”. Keeping time was very important: it had to be crisp, military, and above all loud. In the latter case, one of us had to conduct because otherwise it would not have been possible to keep time. Karl Röder, who had been a prisoner in Dachau and Flossenbürg, wrote that singing songs on command was part of the daily routine of camp life: “We sang in small groups, or one block would sing, or several thousand prisoners all at once. March! Sing!,” or who did not carry out the order, “Sing, a Song!” to the complete satisfaction of the SS provided an occasion for random beatings, as reported by Eberhard Schmidt from the Sachsenhausen concentration camp: “Anyone who did not know the song was beaten. Prisoners who did not immediately obey the order, “In step. In fact, under these extreme conditions, being forced to sing could be life-threatening.
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After a long day of hard manual work, being forced to sing meant an enormous physical effort for the weakened prisoners. The guards used singing on command to intimidate insecure prisoners: it frightened, humiliated, and degraded them. The practice was employed in concentration camps, however, with the additional purpose of exercising mental and physical force. This form of collective music derives from military tradition, where even today singing is used to develop discipline, encourage marching rhythm, or to symbolize the acquisition of such soldierly virtues as “proper order”. The inmates received the order to strike up a song from a sentry, for example, or from a prisoner functionary (the latter were prisoners to whom the SS had delegated such special organizational and administrative tasks as leading a work detail or supervising a block: for example, a Kapo). Once the camp system had been developed, the most common form of command music in the concentration camps was singing on command. Besides these occasions, camp inmates were forced to perform music for the SS “after hours,” as it were. This took place mainly within the officially prescribed framework of daily life in the camps: singing was required and there were camp orchestras but music was also played over loudspeakers. Music on CommandĪlmost every camp inmate was inescapably confronted in one way or another with music in the course of his or her camp imprisonment. In the second part I analyze the very different question of the musical activities initiated by the inmates themselves.
In the first part of this essay I describe the various forms of music performed at the behest of the SS in the camps.
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The questions covered by my research include: how was it possible to play music in these camps? What musical forms developed there? What, under these circumstances was the function, the effect and the significance of music for both the suffering inmates and the guards who inflicted the suffering? And how was the extent of musical activities affected by the development of the concentration camp system? My research is based on extensive archive work, the study of memoirs and literature, and interviews with witnesses. In fact music was an integral part of camp life in almost all the Nazi-run camps. Thus this chapter is about those camps that the Nazi regime started to erect just a few weeks after Hitler’s assumption of power these camps formed the seed from which the entire system of Nazi camps grew, and which eventually consisted of over 10,000 camps of various kinds. Instead of this, I wish to address the topic of musical activities in general in the concentration camps. It would be equally wrong to restrict our view of music in concentration camps to the “Moorsoldatenlied” (“The Peat Bog Soldiers”), the “Buchenwald Song,” the “Dachau Song,” or the so-called “Girls’ Orchestra in Auschwitz,” described by Fania Fénelon – also the subject of the Hollywood film entitled “Playing for Time”. It would be wrong to reduce the “Music of the Shoah” (Holocaust/ churbn) to the Yiddish songs from the ghetto camps of Eastern Europe or to the multiple activities in the realm of classical or Jewish music found in the ghetto camp at Theresienstadt (Terezín), which of course enjoyed a special status as a model camp.