„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin

80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.

Concerts of the Jewish Orchestra in the Łódź Ghetto during the Second World War

The article discusses concerts organised by the inhabitants of the Łódź Ghetto and their cultural context. My research focuses on concerts conducted by Teodor Ryder, with preserved posters and programmes used as my sources. The surviving concert reviews written in the ghetto contribute to a better understanding of these events. Analysis of source materials provides me with an opportunity to describe the musical life in the ghetto and discuss the role of music in the lives of its inhabitants.

Koncerty symfoniczne żydowskiej orkiestry w getcie łódzkim w czasie drugiej wojny światowej

Concerts of the Jewish Orchestra in the Łódź Ghetto During the Second World War The article discusses concerts organised by the prisoners of the Łódź Ghetto and presents them within the cultural context. The research focuses on concerts conducted by Teodor Ryder, with preserved posters and programmes used as sources. The preserved concert reviews written in the ghetto contribute to the better understanding of the events. The analysis of the discussed materials provides an opportunity to demonstrate the musical life in the ghetto and to answer the question about the role of music in the life of its citizens.