Overview
- Description
- From the operetta Stradella in Venedig. Born in 1908 in Lemberg, Austria-Hungary (currently L’viv, Ukraine), Joseph Beer studied at the Hochschule für Musik in Vienna. After graduating, he remained in the Austrian capital to conduct a ballet troupe, but soon found his calling in the field of music theater. With the popular success of his first comic operas, Der Prinz Von Schiras (The Prince of Shiraz) and Polnische Hochzeit (The Polish Wedding), Beer, not yet 30, rated among Vienna’s most sought-after composers. This promising career, however, was cut short by the German-Austrian Anschluss of 1938, when the works of the “Jew Beer” were banned from performance throughout the Nazi realm. Beer fled first to Paris, then, after the fall of France, to the Mediterranean city of Nice, which was successively under French, Italian, and German military rule during World War II. There, confined to a small apartment and living under a false identity, Beer continued to compose, selling his works—including an entire opera—to other musicians to claim as their own. The money earned from these transactions bought him enough time to survive the war. When Allied forces liberated Nice in late summer 1944, Beer emerged from hiding to learn that his father, mother, and sister had perished at Auschwitz. Embittered by his loss and convinced that former Nazi collaborators remained active in the music business, he refused to cooperate when major venues offered to stage his works. He was, however, willing to facilitate the 1949 Zürich Opera production of Stradella in Venedig (Stradella in Venice), a work he had created with the Jewish Hungarian librettist Laszlo Lakatos while both lived incognito in southern France. (The aria presented here, Weit Draussen im Sonnenglanz, appears in Act I of this operetta.) In his later years, Beer grew increasingly alienated from the artistic community; working in isolation, he wrote new music, obsessively polished his old scores, and earned a doctorate in musicology from the Sorbonne University. His death in Nice on November 23, 1987, was scarcely noted by the music world. More recently, Beer’s widow, Hanna, and daughter, Béatrice, a professional opera singer, have sought to make his story and legacy better known by donating a portion of the composer’s memorabilia to the U.S. Holocaust Memorial Museum, and through performances of Ms. Beer’s concert program A Daughter’s Tribute to Her Father’s Music.
- Alternate Title
- Weit Draussen im Sonnenglanz
- Contributor
-
Lyricist:
Joseph Beer
Composer: Joseph Beer
Physical Details
Rights & Restrictions
- Conditions on Access
- You do not require further permission from the Museum to access this archival media.
- Copyright
- Copyright Undetermined
- Conditions on Use
- Owner of copyright, if any, is undetermined. It is possible this is an orphan work. It is the responsibility of anyone interested in reproducing, broadcasting, or publishing content to determine copyright holder and secure permission, or perform a diligent Fair Use analysis.
Administrative Notes
- Legal Status
- Licensed Agreement
- Recorded Sound Provenance
- This song was included in the United States Holocaust Memorial Museum's web exhibition, "Music of the Holocaust" https://www.ushmm.org/exhibition/music/ curated by the Museum's musicologist.
- Recorded Sound Notes
- Performed by Béatrice Beer, mezzo-soprano, and Kelly Horsted, piano. USHMM, Joseph and Rebecca Meyerhoff Auditorium, December 5, 1999.
- Recorded Sound Source
- Bret Werb
- Record last modified:
- 2024-06-10 10:46:23
- This page:
- https://collections.ushmm.org/search/catalog/irn719256
Also in "Music of the Holocaust" web exhibition
Songs included in the United States Holocaust Memorial Museum's web exhibition, "Music of the Holocaust" https://www.ushmm.org/exhibition/music/. Music was heard in many ghettos, concentration camps, and partisan outposts of Nazi-controlled Europe. While popular songs dating from before the war remained attractive as escapist fare, the ghetto, camp, and partisan settings also gave rise to a repertoire of new works. These included topical songs inspired by the latest gossip and news, and songs of personal expression that often concerned the loss of family and home. Classical music—instrumental works, art songs, opera—was also produced and performed during this period, notably by prisoners at the Theresienstadt (Terezín) ghetto and transit camp in Czechoslovakia, as well as in several other ghettos and camps. For many victims of Nazi brutality, music was an important means of preserving and asserting their humanity. Such music—particularly the topical songs—also serves as a form of historical documentation. Like “audio snapshots,” these works offer a telling glimpse into the events and emotions that their creators and original audiences experienced firsthand.
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