A Polish musician, a Jewish conductor, a secret choir, and the rescue of a trove of music from the Sachsenhausen concentration camp. On a cold October night in 1942, SS guards at the Sachsenhausen concentration camp violently disbanded a rehearsal of a secret Jewish choir led by conductor Rosebery d’Arguto. Many in the group did not live to see morning, and those who survived the guards’ reprisal were deported to Auschwitz-Birkenau just a few weeks later. Only one of its members survived the Holocaust. Yet their story survives, thanks to Aleksander Kulisiewicz. An amateur musician, he was not Jewish, but struck up an unlikely friendship with d’Arguto in Sachsenhausen. D’Arguto tasked him with a mission: to save the musical heritage of the victims of the Nazi camps. In Sing, Memory, Makana Eyre recounts Kulisiewicz’s extraordinary transformation from a Polish nationalist into a guardian of music and culture from the Nazi camps. Aided by an eidetic memory, Kulisiewicz was able to preserve for posterity not only his own songs about life at the camp, but the music and poetry of prisoners from a range of national and cultural backgrounds. They composed symphonies, organized clandestine choirs, arranged great pieces of music by illustrious composers, and gathered regularly over the course of the war to perform for one another. For many, music enabled them to resist, bear witness, and maintain their humanity in some of the most brutal conditions imaginable. After the war, Kulisiewicz returned to Poland and assembled an archive of camp music, which he went on to perform in more than a dozen countries. He dedicated the remainder of his life to the memory of the Nazi camps. Drawing on oral history and testimony, as well as extensive archival research, Eyre tells this rich and affecting human story of musical resistance to the Nazi regime in full for the first time.

How can genocide be witnessed through imaginative literature? How can the Holocaust affect readers who were not there? Reading the work of major figures such as Elie Wiesel, Paul Celan, Avrom Sutzkever, Ida Fink, Wladyslaw Szlengel, Itzhak Katzenelson, and Czeslaw Milosz, Poesis in Extremis poses fundamental questions about how prose and poetry are written under extreme conditions, either in real time or immediately after the Holocaust. Framed by discussion of literary testimony, with Wiesel's literary memoir Night as an entry point, this innovative study explores the blurred boundary of fact and fiction in Holocaust literature. It asks whether there is a poetics of the Holocaust and what might be the criteria for literary witnessing. Wartime writing in particular tests the limits of “poesis in extremis” when poets faced their own annihilation and wrote in the hope that their words, like a message in a bottle, would somehow reach readers. Through Poesis in Extremis, Daniel Feldman and Efraim Sicher probe the boundaries of Holocaust literature, as well as the limits of representation.

This book traces the unique and remarkable life of Shony Alex Braun. As a boy of four, he becomes lost in the Transylvanian forest and encounters a group of gypsies who enchant him with their musical instruments. This launches his love and fascination for the violin. He eagerly learns to play the violin, and by age eleven he makes his debut on Radio Bucharest. His dreams of further study are cut short by Nazi oppression and the deportation of him at thirteen and his family to Auschwitz. The violin miraculously saves his life in the death camp of Dachau and then after liberation, the violin brings him back from the brink of death as he recovers from a gunshot wound, blood poisoning, tuberculosis and malnutrition. He meets a charming girl in the recovery hospital and begins a new life with her as his wife in the United States. Shony goes on to become a prolific composer, Hollywood performer, concert soloist and Pulitzer Prize nominee. His faith in God and his courage to survive will inspire you. Shonys loving concern for others with help you realize there is good in the world.

The “thought-provoking…must-read” (Ariana Neumann, author of When Time Stopped) memoir by a Holocaust survivor who saved an untold number of lives at Auschwitz through everyday acts of courage and kindness—in the vein of A Bookshop in Berlin and The Nazi Officer’s Wife. In March 1942, twenty-five-year-old kindergarten teacher Magda Hellinger and nearly a thousand other young women were deported as some of the first Jews to be sent to the Auschwitz concentration camp. The SS soon discovered that by putting prisoners in charge of the day-to-day accommodation blocks, they could deflect attention away from themselves. Magda was one such prisoner selected for leadership and put in charge of hundreds of women in the notorious Experimental Block 10. She found herself constantly walking a dangerously fine line: saving lives while avoiding suspicion by the SS and risking execution. Through her inner strength and shrewd survival instincts, she was able to rise above the horror and cruelty of the camps and build pivotal relationships with the women under her watch, and even some of Auschwitz’s most notorious Nazi senior officers. Based on Magda’s personal account and completed by her daughter’s extensive research, this is “an unputdownable account of resilience and the power of compassion” (Booklist) in the face of indescribable evil.

DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div

"[T]he amazing story of a woman who lived through one of the worst times in human history, losing family members to the Nazis but surviving with her spirit and integrity intact.” —Publishers Weekly Marthe Cohn was a young Jewish woman living just across the German border in France when Hitler rose to power. Her family sheltered Jews fleeing the Nazis, including Jewish children sent away by their terrified parents. But soon her homeland was also under Nazi rule. As the Nazi occupation escalated, Marthe’s sister was arrested and sent to Auschwitz and the rest of her family was forced to flee to the south of France. Always a fighter, Marthe joined the French Army and became a member of the intelligence service of the French First Army. Marthe, using her perfect German accent and blond hair to pose as a young German nurse who was desperately trying to obtain word of a fictional fiancé, would slip behind enemy lines to retrieve inside information about Nazi troop movements. By traveling throughout the countryside and approaching troops sympathetic to her plight--risking death every time she did so--she learned where they were going next and was able to alert Allied commanders. When, at the age of eighty, Marthe Cohn was awarded France’s highest military honor, the Médaille Militaire, not even her children knew to what extent this modest woman had helped defeat the Nazi empire. At its heart, this remarkable memoir is the tale of an ordinary human being who, under extraordinary circumstances, became the hero her country needed her to be.

In Music in the Holocaust Shirli Gilbert provides the first large-scale, critical account of the role of music amongst communities imprisoned under Nazism. She documents a wide scope of musical activities, ranging from orchestras and chamber groups to choirs, theatres, communal sing-songs, and cabarets, in some of the most important internment centres in Nazi-occupied Europe, including Auschwitz and the Warsaw and Vilna ghettos. Gilbert is also concerned with exploring the ways in which music - particularly the many songs that were preserved - contribute to our broader understanding of the Holocaust and the experiences of its victims. Music in the Holocaust is, at its core, a social history, taking as its focus the lives of individuals and communities imprisoned under Nazism. Music opens a unique window on to the internal world of those communities, offering insight into how they understood, interpreted, and responded to their experiences at the time.