Song of Terezin

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CD Details

Edition: Music CD
CD Release Date: 1999-02-09
Music Label: Decca
Soundtracks:

Das Lied von Terezín: An einem sonnigen Abend
Das Lied von Terezín: Versunken
Das Lied von Terezín: Das Mäuschen
Das Lied von Terezín: Vogellied
Das Lied von Terezín: Es ist Zeit
Das Lied von Terezín: Dachbodenkonzert in einer alten Schule
Das Lied von Terezín: Der Garten
Das Lied von Terezín: Finale : Der Furcht
Requiem Ebraico: Tov l'hodos ladonoy
Requiem Ebraico: Alëyosor vaalëy novel
Requiem Ebraico: Mah godlu maasecho, Adonoy
Requiem Ebraico: Tzadik katomor yifroch
Requiem Ebraico: L'hagid ki yoshor Adonoy

Music reviews of Song of Terezin

Music Review: MUSIC OF GREAT QUALITY & STRENGTH
Rating: 5 Stars

These two works were written after the Second World War, Zeisl's in 1945 and Waxman's in 1965, but they still meet the criteria of London's Entartete Musik. Franz Waxman (1906-1967) and Eric Zeisl (1906-1959) were Jewish composers forced to flee the Nazis in the 1930's. Each was inspired to write a work honoring the lost inmates of Terezin, Waxman by the publication of children's poems and songs known in English as "...i never saw another butterfly...", Zeisl by a more personal connection, the murder of his father in 1944. I alaborate these dates because they show us how early the true story of Terezin became known - decades before the revival of the lost Czech composers.

Waxman set eight of those children's poems in German. The music is tonal, lush, and descriptive his sincerity and sheer skill make strong impressions; few oratorios by any composer manipulate soloists, chorus and orchestra so effectively. The final poem, "Fear", is a magnificent prayer whitten by a 12-year old girl; Waxman honors it with terrifying music. After several hearings I am seduced by its power and beauty.

Zeisl set the 92nd Psalm in Hebrew, an unusual text for a Requiem. His music is late-Romantic, with a few searing harmonies but also classical elements, including a closing fugue. It sounds like a gentler Ernest Bloch. Less than half the duration of Waxman's song cycle, it is deeply moving.

The performances are outstanding, composers from Bach to Bruckner would rejoice in such representation. A photo in the booklet shows a teen aged Lawrence Foster looking at a score with Waxman; this suggests a long-held connection that may contribute to the dedication evident throughout this disc. Need I add that London's sound is exemplary? This music and this disc are highly recommended.

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