Overview
- Description
- Playwright Jura Soyfer and composer Herbert Zipper, active in Viennese antifascist cabaret, were arrested by the Gestapo after the German-Austrian Anschluss of 1938. They met again at Dachau, where both toiled as “horses,” hauling cartloads of heavy stone throughout the camp. Soyfer and Zipper wrote Dachau Song in September 1938 as an ironic response to the motto “Arbeit Macht Frei” (Work Makes Freedom) inscribed on the gate at the entrance to the camp. Initially performed in secret, Dachau Song was eventually learned by many camp inmates. Both Soyfer and Zipper believed that exercising the intellect helped preserve a prisoner’s self-respect in the face of constant humiliation. According to Zipper, he and his coauthor made Dachau Song deliberately difficult to learn, hoping the challenge would help their comrades rise above their surroundings. Weeks after composing the song, the two men were transferred to Buchenwald, where Soyfer died from typhoid fever at age 26. Zipper, ransomed by his family, fled to Paris and then to the Philippines, where he served as conductor of the Manila Symphony. After World War II, Zipper immigrated to the United States, working as a conductor, composer, and music educator until his death at age 92 in 1997. This recording features Zipper conducting a male chorus and ensemble of 15 guitars and percussion in a performance marking the fiftieth anniversary of Dachau Lied, given at the Styrian Autumn Festival in Graz, Austria.
- Alternate Title
- Dachau Lied
- Contributor
-
Lyricist:
Jura Soyfer
Composer: Herbert Zipper
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
- 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
- See RG-91.2041 for a slightly longer version of this recording.
- Recorded Sound Source
- Bret Werb
- Record last modified:
- 2024-02-21 07:29:02
- This page:
- https://collections.ushmm.org/search/catalog/irn719261
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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