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date: 05 August 2020

Abstract and Keywords

This study looks at several musical works written in Terezin in the summer of 1944 to explore the way censorship, or what is referred to as a “censoring environment,” affects a range of musical choices. Four composers, Pavel Haas, Gideon Klein, Viktor Ullmann, and Hans Krasa use a range of suggestive allusions in their instrumental works in order to write pieces that seem to be creating a certain of kind of insistent expression. I argue that their efforts are part of an attempt to witness, or to communicate to those both inside and outside a range of secret meanings about the concentration camp experience, and even possibly engage in musical sabotage.

Keywords: censorship, Gideon Klein, Hans Krása, Viktor Ullmann, concentration camp, Holocaust, Auschwitz, secrets, middles, musical form

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