How desperate he must feel sitting there helplessly : Jews, Gypsies, Czechs... and the Chinese... from Zápisník to Terezín and beyond

Zdrojový dokument: Musicologica Brunensia. 2019, roč. 54, č. 2, s. 5-15
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type: Článek
This study looks at three related "snapshots" from, respectively, Janáček's Zápisník zmizelého, Pavel Haas' Chinese Songs, and Hugo Haas' film, The Girl on the Bridge. All three invoke the agonizing tension between movement and stasis, raise questions of freedom and imprisonment, and they all involve delicate and painful connections between the groups mentioned in the title above. It is my argument that together these thickly packed snippets can be considered a kind of continuous art work, providing a micro-history of the period between 1919 and 1951.
[1] HAIN, Milan. Hollywood Film as Therapy: Hugo Haas, Trauma, and Survivor Guilt. Jewish Film and New Media, Wayne State University. No. 7.1. Forthcoming.

[2] PEDUZZI, Lubomír. Pavel Haas: život a dílo skladatele. Brno: Muzejní a vlastivědná společnost, 1993. ISBN 80-85048-41-8.

[3] DVOŘÁK, Antonín and DEL MAR, Jonathan, ed. Koncert pro violoncello h moll, opus 104. Kassel: Bärenreiter, 2011. Urtext. ISMN 979-0-006-53763-1.

[4] HAAS, Hugo. The Girl on the Bridge [movie]. USA, 1951. 20th Century Fox Cinema Archives.

[5] HAAS, Pavel. Čtyři písně = Vier Lieder = Four songs: pro bas (baryton) a klavír na slova čínské poezie: ghetto Terezín 1944. 2. rev. ed. Prague, Berlin: Tempo, 1992. ISMN M-66052-075-8.

[6] HAAS, Pavel. Suita pro hoboj a klavír: op. 17: (1939). 2. rev. ed. Prague: Tempo, [2001]. ISMN M-2025-1720-8.

[7] HAAS, Pavel. Šarlatán: opera o 3 jednáních a 7 obrazech = Der Scharlatan: Oper in 3 Akten und 7 Bildern: (tschechisch/deutsch). Prague: Tempo, 1993. ISBN 80-901376-4-4.

[8] JANÁČEK, Leoš and ZAHRÁDKA, Jiří, ed. Zápisník zmizelého: pro tenor, alt, tři ženské hlasy a klavír = The diary of one who disappeared: for tenor, alto, three female voices and piano = Tagebuch eines Verschollenen: für Tenor, Alt, drei Frauenstimmen und Klavier: Urtext. 1. ed. Kassel: Bärenreiter, 2016. Bärenreiter Urtext. ISMN 979-0-2601-0777-9.