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Sagebrush
November 20, 2001
Sounds
That Cannot Be Silenced
Concert features Jewish composers who were outlawed
by the Nazis
by
Abbi Holtom
There
was a time in history when music was silenced. During
the reign of Adolf Hitler the sounds of Each, Mendelssohn,
Mahler and many others were not to be heard, not even
whispered. Hitler wanted to eradicate all that was Jewish
and non-Aryan. He meant to do it book-by-book, song-by-
song and life-by-life. The slow extermination of life,
culture and diversity was Hitler's goal, yet history
has proven that when something as powerful as music
is silenced, it will rise again.
On
Thursday, the Argenta Quartet inspired and energized
the audience at Nightingale Hall with their haunting
renditions of "Silenced Voices," a concert
of music on Jewish themes and composers silenced by
the Nazis. Sponsored by the Center for Holocaust, Genocide
and Peace Studies, the Argenta Quartet and Special Guest
Artists brought back a small piece of the past with
their magical playing and musical mastery.
Martin
Heim, a 21-year-old Austrian intern with the Center
for Holocaust, Genocide and Peace Studies said he found
the compositions both inspiring and important.
"Over 1,500 artists, composers, etc. immigrated
to the United States from Germany during the Nazi regime,"
Heim said. "It ended up being a cultural profit
for the United States and a loss for Germany. It is
very important for us not to forget this music."
The
evening began with an introduction for Dr. Viktoria
Hertling, director of the Center for Holocaust, Genocide
and Peace Studies. She told the story of a scene
in "Schindler's List" where a German soldier
hears another soldier playing music on a piano while
they are raiding a Jewish apartment.
The
program commenced with two songs composed by Chicago
Symphony Orchestra member Max Raimi, who also attended
the concert. The first song, "Story of Pennies,"
tells the tale of a penny and its life. Katherine DeBoer,
a soprano from the University of Nevada, Reno, sang
the words to the composition.
Her
clear and passionate voice captivated the audience and
took over the hall. Her ability to capture the feeling
of a single note gave the music powerful intensity and
guided the listener. Her high notes shook with emotion
and her feet moved higher and higher with each note.
She went on the sing "At My Wedding," a song
about a Hebrew fiddle player. DeBoer goes from what
seems like panic to complete serenity in one breath.
The tempo, movement and feeling of a song changes from
one note to the next. Never does the audience feel cheated.
DeBoer's performance is slow and sensual one minute
and the next is exciting and enticing.
The
musicians went on to play "Eight Pieces for Clarinet,
Viola and Piano," com- posed by Max Bruch. The
composition challenged the intensity of the first two
by letting the listener into the soul of the composer
to interpret their message with words of their own.
The audience got a chance to peek into the soul of the
music and feel the fire that such talented compositions
ignite. The first piece began with an upward flair and
continued with a solo on the clarinet, which was exceptionally
moving: sweet like summer with clouds dancing in the
sky. The couple in front of me moved a little closer
and tight- ly held hands as the musicians let them-
selves and the audience get carried away.
The
notes of the cello and the clarinet spoke like two star
struck lovers -one down on the ground, begging and pleading
~ the other to come down from their window and enjoy
the moonlight, stars and gentle t breeze. The notes
flow from the instruments -like raindrops from a sweet
November -shower, and the piano sounded like a songbird
finding shelter from the unexpected, yet welcomed warm
storm. Charles Blakeman, who played the clarinet, Virginia
Blakeman, who played the viola and James Winn, on the
piano, played five songs together and each one proved
that the beauty of music could never be silenced.
The second half of the concert began with "Chassidic
Life," by Ernest Bloch. This pieced honored the
Chassidic Jewish tradition of the mystical orthodox
practices. Mainly a violin solo by Phillip Ruder, this
haunting piece seemed to speak for the many forgotten
artists of Hitler's Germany. The sorrowful playing shook
deep into the soul and the journey it offered was one
of sadness and loss. The final piece "Trio in d
minor, Op. 49,' by Felix Mendelssohn was the crowning
jewel of the show. Mendelssohn's amazing I talent and
ability reflected in these pieces and it was hard not
to wonder, "What if?" The energy of the musicians
as they played each note with furor and soul brought
the audience to their feet.
The
concert, "Silenced Voices," was a tribute
to those who the Nazis thought they could crush, yet
it was also a tribute to the beauty of music and the
power of expression. Extraordinary talent will always
rise and the meaning of music will survive.
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