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June 18 saw the U.S. premiere of a set of piano variations on a Polish patriotic theme composed in the Dachau concentration camp by prisoner of war Leon Kaczmarek (1903–1973). Kaczmarek’s composition was performed by 17-year-old pianist Nicholas Biniaz-Harris, winner of the National Symphony Orchestra’s 2013 Young Soloists’ Competition.
music, performance, kaczmarek, biniaz, dachau / Tuesday, June 25, 2013
Comcast subscribers will be able to watch USC Shoah Foundation testimonies and films exploring the theme of music on Comcast’s second annual Days of Remembrance: PastFORWARD broadcast.
comcast, days of remembrance, music / Friday, March 27, 2015
Three Holocaust survivors describe incredible stories of how music quite literally saved their lives in the Days of Remembrance film Music Saved My Life.
comcast, holocaust, music, musical performance, Kurt Messerschmidt / Friday, May 1, 2015
Virtually everyone has listened to a popular song with its lyrics changed for comedic or dramatic effect. But a perhaps little-known fact of the Holocaust is that this type of parody was also a common practice in some of the most hellish places on Earth: concentration camps.
music as resistance, cagr, music, holocaust, research, center for advanced genocide research / Friday, September 4, 2015
I attended the event “Melodies of Auschwitz” at the Willard Intercontinental Hotel in Washington D.C. on Thursday, March 10, 2016, hosted by PNC Bank to recognize USC Shoah Foundation for its work in genocide education and preserving testimony of genocides around the world. The event was educational and meaningful, bringing together PNC clients, employees, and all other guests into a conversation about the importance of preserving testimony and what USC Shoah Foundation is all about.
Auschwitz70, music, students, interns, op-eds / Tuesday, March 29, 2016
Anita Lasker-Wallfisch had a lucky moment while being processed at the Sauna in Auschwitz-Birkenau. One of the girls processing her asked her what she did prior to landing in that place of unspeakable horror. “I played the cello,” she answered. That surreal conversation, not far from the gas chambers at Birkenau, would save her life. As a member of the Auschwitz women's orchestra, playing the cello meant respite from heavy labor.
Auschwitz70, Anita Lasker-Wallfisch, memory, music, op-eds / Wednesday, January 21, 2015