000			01728cam a2200157 4500500
005			20250112054725.0
041			_afre
042			_adc
100	1	0	_aBecker, Annette _eauthor
245	0	0	_aII.2/ Looting souls: Musicians, their instruments, and the gas chambers
260			_c2021.
500			_a25
520			_aUpon arriving at the Auschwitz-Birkenau concentration camp, René Coudy and Simon Laks could hardly believe their eyes. “Are we hallucinating? […] Those are music stands. […] Shack 15: a number of instruments are arranged according to size.” ( Music from Another World, 1948.) This first publication by Simon Laks, the future conductor of the orchestra in Auschwitz-Birkenau ( Mélodies d’Auschwitz et autres écrits sur les camps [Auschwitz Melodies and Other Writings about the Camps], Paris, Cerf, 2018), makes clear that we have not given sufficient thought to the origin and fate of the instruments and sheet music the musicians in Nazi concentration camps and extermination sites used and sometimes discovered in the archaeological sense of the term. However, there are more eye-witness accounts than one might believe, and some of the original instruments are still around today. By studying the sources of these instruments and collections of sheet music, which in some ways represent the internal condition of consciousness, we uncover a story within a story in which the participants survived through or in exchange for music, and in which the ultimate resource being looted was life itself.
786	0		_nRevue d’Histoire de la Shoah | o 213 | 1 | 2021-02-05 | p. 143-158 | 2111-885X
856	4	1	_uhttps://shs.cairn.info/journal-revue-d-histoire-de-la-shoah-2021-1-page-143?lang=en
999			_c215854 _d215854