About Jeff Schanzer's concert at the US Holocaust Museum

[Reyzl Kalifowicz-Waletzky <reyzl...>]

I asked my friend Jeff Schanzer to send me a copy of Washington Post's  r eview 
about his concert at the US Holocaust Museum last Sunday. He says 400 people 
came to the event.  


Thought I would share it with you all, on the 2G-Legacy list and the 
Jewish-music list.


Reyzl



-------------------------------------------------------------------------------------------------------------
From:  JeffSchan (at) aol(dot)com[SMTP:JeffSchan (at) aol(dot)com]
Sent:  Wednesday, January 13, 1999 5:12 AM
To:  reyzl (at) flash(dot)net
Subject:  Re: FW: 2G Legacy




<CLASSICAL MUSIC

By Cecelia Porter

Tuesday, January 12, 1999; Page C02 

Cellist Steven Honigberg At the Holocaust Museum 

Director-cellist Steven Honigberg brought another installment of his rewarding
Chamber Music Series to the U.S. Holocaust Memorial Museum on Sunday.
Continuing the theme of the series -- music associated with the Holocaust --
the afternoon program included Jeffrey Schanzer's "A Mother's Story 1939-1940"
(1995), Boris Blacher's Piano Trio (1970), Michael Karmon's "I Never Saw
Another Butterfly" (1995), Mendelssohn's Fantasy in F-sharp Minor, Op. 28
(1833), and Eric Zeisl's Sonata "Brandeis" for Violin and Piano (1949-50).
Schanzer and Karmon were present, and Zeisl's sonata was introduced by his
daughter, Barbara Zeisl-Schoenberg, whose father-in-law was composer Arnold
Schoenberg.

Schanzer, whose text was based on his mother's recollections of World War II
in Poland, explained, "We of the second generation who have access to
information about the Holocaust must pass it down to the next generation." And
indeed his musical narrative, with the impact of a black-and-white photograph,
captures many shades of grief in a contrapuntal dialogue of insistent,
recurring themes. Mezzo-soprano Patricia Green and Honigberg gave it a
spellbinding reading.

Karmon's piece, eloquently performed by Green and pianist Joseph Holt, conveys
the innocence of children's poems written in the Terezin concentration camp.
The music, the composer noted, seeks to reflect gentle hopes "in a childlike,
uncynical way." This Karmon did with structural coherence, defining the
children's longing for a world beyond their reach. Zeisl's piece, absorbed in
Eastern European melodic idioms, extends Prokofievian rhythmic persistence and
chordal progressions in a context of subtle irony.

Along with Blacher's witty essay and Mendelssohn's glistening pianistic
palette, Green, Honigberg, Holt and Marsh well deserved the audience's
accolades.>

The Post URL for this section is
http://www.washingtonpost.com/wp-srv/WPlate/1999-01/12/112l-011299-idx.html

Also, thanks for the digest.

Jeff