PROLOGUE: AMNON’S VIOLINS
Yitzhak Arad, “Vilna,” in Encyclopedia of the Holocaust, ed. Israel Gutman, vol. 4 (New York: Macmillan, 1990), 1571–75; Moses Einhorn, ed., Volkovisker Yisker-bukh (New York, 1949); Elana Estrin, “Did Jews Invent the Violin?,” Jerusalem Post, August 20, 2009; Ida Haendel, Woman with Violin: An Autobiography (London: Victor Gollancz, 1970); interview with Ida Haendel on October 31, 2012; and Aharon Weiss, “Volkovysk,” in Encyclopedia Judaica, 2nd ed., ed. Fred Skolnik and Michael Berenbaum, vol. 20 (New York: Macmillan, 2007), 573–74.
1: THE WAGNER VIOLIN
Music in the Third Reich:
Kurt Baumann, “The Kulturbund—Ghetto and Home,” in Germans No More: Accounts of Jewish Everyday Life, 1933–1938, ed. Margarete Limberg and Hubert Rübsaat, trans. Alan Nothnagle (New York: Berghahn Books, 2006), 118–27; Berta Geissmar, Two Worlds of Music (New York: Da Capo Press, 1975); Martin Goldsmith, The Inextinguishable Symphony: A True Story of Music and Love in Nazi Germany (New York: John Wiley & Sons, 2000); Lily E. Hirsch, A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League (Ann Arbor: University of Michigan Press, 2010); Michael H. Kater, “Jewish Musicians in the Third Reich: A Tale of Tragedy,” in The Holocaust’s Ghost: Writings on Art, Politics, Law and Education, ed. F. C. Decoste and Bernard Schwartz (Edmonton: University of Alberta Press, 2000), 75–83; Kater, The Twisted Muse: Musicians and Their Music in the Third Reich (New York: Oxford University Press, 1997); Erik Levi, Music in the Third Reich (New York: St. Martin’s Press, 1994); Nicolas Slonimsky, Music Since 1900, 4th ed. (New York: Charles Scribner’s Sons, 1971); Kurt Sommerfeld, “Kein Bier für den Juden dahinten!,” in Premiere und Pogrom: Der Jüdische Kulturbund 1933–1941, ed. Eike Geisel and Henryk M. Broder (Berlin: Siedler Verlag, 1992), 200–209; and Leni Yahil, “Kristallnacht,” in Encyclopedia of the Holocaust, vol. 2, 836–40.
Music in Palestine:
Philip V. Bohlman, “The Land Where Two Streams Flow”: Music in the German-Jewish Community of Israel (Urbana: University of Illinois Press, 1989); “‘Divine,’ Says Huberman: Palestine Symphony Orchestra’s Organizer Acclaims Its Debut,” New York Times, December 27, 1936; Helmut Goetz, Bronislaw Huberman and the Unity of Europe (Rome, 1967); Jehoash Hirshberg, Music in the Jewish Community of Palestine 1880–1948: A Social History (Oxford: Clarendon Press, 1995); Ida Ibbeken, An Orchestra Is Born (Tel Aviv: Yachdav, 1969); Barbara von der Lühe, Die Musik war unsere Rettung! Die deutschsprachigen Gründungsmitglieder des Palestine Orchestra (Tübingen: Mohr Siebeck, 1998); Orchestra of Exiles, directed by Josh Aronson (New York: First Run Features, 2012), DVD; “Orchestra of Exiles,” New York Times, February 9, 1936; Elsa Thalheimer, Five Years of the Palestine Orchestra (Tel Aviv: Palestine Orchestra, 1942); Uri [Erich] Toeplitz, Sipurah shel ha-Tizmoret ha-filharmonit ha-Yisreelit [The history of the Israel Philharmonic Orchestra] (Tel Aviv: Sifriat Poalim, 1992); “Toscanini to Conduct Concerts of New Orchestra in Palestine,” New York Times, February 23, 1936; and documents in the private collection of Amnon Weinstein.
2: ERICH WEININGER’S VIOLIN
Austria and Germany:
Yehoshua R. Büchler, “Buchenwald,” in Encyclopedia of the Holocaust, vol. 1, 254–56; George Clare, Last Waltz in Vienna: The Rise and Destruction of a Family, 1842–1942 (New York: Holt, 1989); Paul Cummins, Dachau Song: The Twentieth-Century Odyssey of Herbert Zipper, 3rd ed. (New York: Peter Lang, 2001); Barbara Distel, “Dachau,” in Encyclopedia of the Holocaust, vol. 1, 339–43; Sarah A. Ogilvie and Scott Miller, Refuge Denied: The St. Louis Passengers and the Holocaust (Madison: University of Wisconsin Press, 2006); Theron Raines, Rising to the Light: A Portrait of Bruno Bettelheim (New York: Alfred A. Knopf, 2002); Hans A. Schmitt, Quakers and Nazis: Inner Light in Outer Darkness (Columbia: University of Missouri Press, 1997); and Nina Sutton, Bettelheim: A Life and a Legacy, trans. David Sharp (New York: Basic Books, 1996).
Emigration to Palestine:
Joan Campion, In the Lion’s Mouth: Gisi Fleischmann and the Jewish Fight for Survival (Lanham, MD: University Press of America, 1987); Karl Lenk, The Mauritius Affair: The Boat People of 1940/41, trans. and ed. R. S. Lenk (London: Booksprint, 1993); Elena Makarova, Boarding Pass to Paradise: Peretz Beda Mayer and Fritz Handel (Jerusalem: Verba, 2005); Munya M. Mardor, Haganah, ed. D. R. Elston (New York: New American Library, 1964); Beda and Hannah Mayer, “In the Eye of the Storm,” in Across the Street and Far Away, ed. Valerie Arnon (Jerusalem: Verba, 2004), 16–49; Geneviève Pitot, The Mauritian Shekel: The Story of the Jewish Detainees in Mauritius 1940–1945, trans. Donna Edouard, ed. Helen Trooper (Lanham, MD: Rowman & Littlefield, 2000); and Aaron Zwergbaum, “Exile in Mauritius,” Yad Vashem Studies 4 (1960): 191–257.
3: THE AUSCHWITZ VIOLIN
Auschwitz:
Jozef Buszko, “Auschwitz,” in Encyclopedia of the Holocaust, vol. 1, 107–19; Guido Fackler, “‘We all feel this music is infernal . . .’: Music on Command in Auschwitz,” trans. Corinne Granof, in The Last Expression: Art and Auschwitz, ed. David Mickenburg, Corinne Granof, and Peter Hayes (Evanston, IL: Northwestern University Press, 2003), 114–25; and Shirli Gilbert, “Fragments of Humanity: Music in Auschwitz,” in Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps (Oxford: Oxford University Press, 2005), 144–95.
Auschwitz Main Camp Orchestra:
Emilio Jani, My Voice Saved Me: Auschwitz 180046, trans. Timothy Paterson (Milan: Centauro Editrice, 1961); and Ignacy Szczepański, Häftlings-kapelle (Warsaw: Książka i Wiedza, 1990).
Birkenau Men’s Camp Orchestra:
Goldsmith, The Inextinguishable Symphony; Szymon Laks, Music of Another World, trans. Chester A. Kisiel (Evanston, IL: Northwestern University Press, 1989); Henry Meyer “Anscheinend ging nichts ohne Musik,” in Premiere und Pogrom, 136–45; Henry Meyer, “Mußte da auch Musik sein? Der Weg eines Geigers von Dresden über Auschwitz nach Amerika,” in Musik im Exil: Folgen des Nazismus für die internationale Musikkultur (Frankfurt am Main: Fischer Taschenbuch), 29–40; Ken Shuldman, Jazz Survivor: The Story of Louis Bannet, Horn Player of Auschwitz (London: Vallentine Mitchell, 2005); Jacques Stroumsa, Violinist in Auschwitz: From Salonica to Jerusalem 1913–1967, trans. James Stewart Brice, ed. Erhard Roy Wiehn (Konstanz: Hartung-Gorre, 1996); and Barbara-Maria Vahl, “‘Die Musik hat mich am Leben erhalten!’ Henry Meyer, zweiter Geiger des LaSalle Quartet, im Gespräch,” in Das Orchester: Zeitschrift für Orchesterkultur und Rundfunk-Chorwesen 44, no. 3 (1996): 11–15.
Birkenau Women’s Camp Orchestra:
Fania Fénelon, with Marcelle Routier, Playing for Time, trans. Judith Landry (Syracuse, NY: Syracuse University Press, 1997); Gabriele Knapp, Das Frauenorchester in Auschwitz: Musikalische Zwangsarbeit und ihre Bewältigung (Hamburg: Von Bockel, 1996); Anita Lasker-Wallfisch, Inherit the Truth: A Memoir of Survival and the Holocaust (New York: St. Martin’s Press, 1996); Richard Newman, Alma Rosé: Vienna to Auschwitz, with Karen Kirtley (Pompton Plains, NJ: Amadeus Press, 2000); and Rachela Olewski Zelmanowicz, “Crying Is Forbidden Here!,” trans. and ed. Arie Olewski and Jochevet Ritz-Olewski, courtesy of Arie Olewski and Jochevet Ritz-Olewski.
Other Auschwitz Ensembles:
Ruth Elias, Triumph of Hope: From Theresienstadt and Auschwitz to Israel, trans. Margot Bettauer Dembo (New York: John Wiley & Sons, 1998); Primo Levi, Survival in Auschwitz and The Reawakening: Two Memoirs, trans. Stuart Woolf (New York: Summit Books, 1986); Herman Sachnowitz, The Story of “Herman der Norweger,” Auschwitz Prisoner #79235, with Arnold Jacoby, trans. Thor Hall (Lanham, MD: University Press of America, 2002); Coco Schumann, Der Ghetto-Swinger: Eine Jazzlegende erzählt, ed. Max Christian Graeff and Michaela Haas (Munich: Deutscher Taschenbuch Verlag, 1997); and Elie Wiesel, Night, trans. Marion Wiesel (New York: Hill & Wang, 2006).
4: OLE BULL’S VIOLIN
The Holocaust in Norway:
Samuel Abrahamsen, “The Holocaust in Norway,” in Contemporary Views on the Holocaust, ed. Randolph L. Braham (Boston: Kluwer-Nijhoff, 1983), 109–42; Samuel Abrahamsen, Norway’s Response to the Holocaust (New York: Holocaust Library, 1991); Maynard M. Cohen, A Stand Against Tyranny: Norway’s Physicians and the Nazis (Detroit: Wayne State University Press, 1997); Richard Petrow, The Bitter Years: The Invasion and Occupation of Denmark and Norway, April 1940–May 1945 (New York: William Morrow, 1974); and Sachnowitz, The Story of “Herman der Norweger.”
Ole Bull:
Sara Chapman Thorp Bull and Alpheus Benning Crosby, Ole Bull (Cambridge, MA: Riverside Press, 1883); Einar Haugen and Camilla Cai, Ole Bull: Norway’s Romantic Musician and Cosmopolitan Patriot (Madison: University of Wisconsin Press, 1993); Mortimer Smith, The Life of Ole Bull (Princeton: Princeton University Press, 1943); and Amnon Weinstein, “Ole Bull: A Renaissance Man,” Journal of the Violin Society of America 17, no. 1 (2000): 85–125.
Bergen Philharmonic Orchestra:
Hans Jørgen Hurum, Musikken under okkupasjonen (Oslo: H. Aschehoug, 1946); Kåre Fasting, Musikselskabet “Harmonien” gjennom to hundre år 1765–1965 (Bergen: John Grieg, 1965); Olav Mosby, Musikselskabet Harmonien, 1765–1945, vol. 2 (Bergen: John Grieg, 1949); and Elef Nesheim, Et musikkliv i krig: Konserten som politisk arena, Norge 1940–45 (Oslo: Norsk Musikforlag, 2007).
Ernst Glaser:
Newspaper clippings and other documents from the Bergen Philharmonic Orchestra; Ernst Glaser, interview at the Music Academy in Ålesund (typescript), January 14, 1975, courtesy of Ernst Simon Glaser; newspaper clippings and other information from Berit, Liv, and Ernst Simon Glaser, as well as from Torleif Torgersen; interview with Berit, Liv, and Ernst Simon Glaser on January 29, 2012; interview with Solveig and Mona Levin on January 28, 2012; and newspaper clippings and other documents from the Oslo National Library.
Flight and Exile in Sweden:
Kirsten Flagstad, The Flagstad Manuscript, ed. Louis Biancolli (New York: G. P. Putnam’s Sons, 1952); “Kunstnerparet Glaser: To trofaste norske musikkambassadører i Sverige,” Norsk Musikkliv 9–10 (1945): 1–5; Robert Levin, Med livet i hendene, with Mona Levin (Oslo: J. W. Cappelens, 1983); and Ragnar Ulstein, Jødar på flukt (Oslo: Norske samlaget, 1995).
5: FEIVEL WININGER’S VIOLIN
The Holocaust in Romania:
Jean Ancel, The History of the Holocaust in Romania, trans. Yaffah Murciano, ed. Leon Volovici, assisted by Miriam Caloianu (Lincoln: University of Nebraska Press, 2011); International Commission on the Holocaust in Romania, Final Report (2004); and Radu Ioanid, The Holocaust in Romania: The Destruction of Jews and Gypsies Under the Antonescu Regime, 1940–1944 (Chicago: Ivan R. Dee, 2000).
Transnistria:
Felicia Steigman Carmelly, Shattered! 50 Years of Silence: History and Voices of the Tragedy in Romania and Transnistria (Scarborough, Ontario: Abbeyfield, 1997); Julius S. Fisher, Transnistria: The Forgotten Cemetery (South Brunswick, NJ: A. S. Barnes, 1969); Yosef Govrin, In the Shadow of Destruction: Recollections of Transnistria and Illegal Immigration to Eretz Israel, 1941–1947 (London: Vallentine Mitchell, 2007); correspondence with Dr. Timor Melamed; Avigdor Shachan, Burning Ice: The Ghettos of Transnistria, trans. Schmuel Himelstein (Boulder, CO: East European Monographs, 1996); and Meir Teich, “The Jewish Self-Administration in Ghetto Shargorod (Transnistria),” Yad Vashem Studies 2 (1958): 219–54.
Feivel Wininger:
Helen Wininger Livnat, Le-male et ha-zeman be-
ayim [Filling time with life] (Tel Aviv: Ministry of Defense Publishers, 2006); interview with Helen Wininger Livnat, March 7, 2012; and Feivel Wininger, “We were so many and so weak; we remained few but strong and powerful” (unpublished memoirs), translated by Laura and Zvika Livnat, courtesy of Helen Wininger Livnat.
6: MOTELE SCHLEIN’S VIOLIN
The Holocaust in Volhynia:
Wendy Lower, “Facilitating Genocide: Nazi Ghettoization Practices in Occupied Ukraine, 1941–1942,” in Eric J. Sterling, ed., Life in the Ghettos During the Holocaust (Syracuse, NY: Syracuse University Press, 2005), 120–44; Schmuel Spector, The Holocaust of Volhynian Jews, 1941–1944, trans. Jerzy Michalowicz (Jerusalem: Yad Vashem, 1990); and Spector, “The Jews of Volhynia and Their Reaction to Extermination,” Yad Vashem Studies 15 (1983): 159–86.
Uncle Misha’s Jewish Group:
Reuben Ainsztein, Jewish Resistance in Nazi-Occupied Eastern Europe (New York: Barnes & Noble, 1974); Interview with Seffi Hanegbi, March 7, 2012; Moshe Kahanovitch, “Moshe Gildenman—Partisan Commander of the ‘Yevgrupa,’” Yad Vashem Bulletin 3 (1958): 13–14; Allan Levine, Fugitives of the Forest (Toronto: Stoddart, 1998); and Yuri Suhl, ed., They Fought Back: The Story of the Jewish Resistance in Nazi Europe (New York: Crown, 1967).
Motele Schlein:
Moshe Gildenman, Motele: Der yunger partizaner [Motele: The young partisan] (Paris: 1950).
EPILOGUE: SHIMON KRONGOLD’S VIOLIN
Frances Brent, The Lost Cellos of Lev Aronson (New York: Atlas, 2009); Howard Reich and William Gaines, “How Nazis Targeted World’s Finest Violins,” Chicago Tribune, August 19, 2001; Carla Shapreau, “The Stolen Instruments of the Third Reich,” The Strad, December 2009; and Willem de Vries, Sonderstab Musik: Music Confiscations by the Einsatzstab Reichsleiter Rosenberg under the Nazi Occupation of Europe (Amsterdam: Amsterdam University Press, 1996).