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The following programme contains
scenes which some viewers may find
distressing.

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Downloaded from
YTS.MX

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Official YIFY movies site:
YTS.MX

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(RAIN PATTERS)

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POLLACK: Myself and all the others

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realised...

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this is a place

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where...

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hate... and terror

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were beyond anything we had seen.

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We were so fearful.

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Constant fear.

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We were terrified.

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(ORCHESTRAL MUSIC BUILDS)

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GEYER: Auschwitz was
the largest death camp

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the world has ever seen.

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Around 1.1 million people
perished here.

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Of those, one million were Jewish,

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70,000 were Polish,

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and 21,000 were Romani
and Sinti people.

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Auschwitz was also home
to at least six orchestras,

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formed of prisoners
and commissioned by the Nazis.

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This music was part
of the infrastructure of the camp.

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Music was weaponised.

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I'm a classical composer
and conductor.

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For the last eight years,

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I've been piecing together
the fragments

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of the music manuscripts
that remain.

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Hidden in the notes,
there are many examples

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of where musicians rebelled...

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with secret performances

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and weaving forbidden melodies
into concerts.

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All of these stories
are very special.

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I've been trying to understand

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what the music would have
sounded like in Auschwitz

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so that we can finally
hear this music,

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in some cases,
for the first time in 80 years.

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EDITH: We were standing outside
in front of that gate,

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and there was that famous music
which used to play in Auschwitz.

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Practically everybody cried,
we never cried.

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You suddenly remembered,
"Oh, there was a world

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which we used to know."

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# MOZART:
Eine Kleine Nachtmusik Mvt.1 #

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(MUSIC FADES, ENDS)

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I've been to Auschwitz ten times,

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and on each trip,

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here for several days.
Hiya, Leo.

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Good to see you again.
Please come in.

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Thank you.
'So, a very long time.'

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Please sit down.
Thank you.

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The collection department
in Auschwitz houses

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all kinds of different artefacts

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that relate to the camp's existence,

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and this includes
artworks, musical instruments,

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and also music manuscripts.

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Thank you very much, Jan, thank you.

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I first came to the collections
department eight years ago

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and I had a conversation
with one of the archivists,

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and he mentioned to me
in a somewhat offhand way

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that there were
some music manuscripts

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in the collections department.
I couldn't believe

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that such a thing existed.

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This is an example
of one of the parts in the archive,

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and we can see it's very damaged

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and the title is missing,
the instrument is missing,

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but this is one of the pieces
of the jigsaw.

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And I know because
of the range of the part

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that this is a violin two part.

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None of these manuscripts
are complete,

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so the challenge
for me as a composer

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is to try and,
authentically as possible,

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complete the gaps.

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It becomes even more complicated

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to make the arrangements
because you didn't have

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the same players day in
and day out because tragically

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the musicians were dying.

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And so I've had to research

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testimonies, refer to photos,

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to try and understand
exactly who was there at that time

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to get to the sound

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as purely as possible.

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Following my conversations
with survivors,

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one of the most
important things for them

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is that we inherit the truth.

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Music is an abstract artform,

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and therefore music can

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speak beyond words.

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And with something so enormous

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and of such gravity

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as the Holocaust,

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actually music is helpful, I think,

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i-in a way in which
we can understand and deal with it.

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(BELL RINGING DISTANTLY)

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HORNICK: People that had been locked
up in those terrible carriages

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were gasping for air.

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Suddenly we heard
this terrible clinking

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and they...

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took off the chains,
and the doors opened.

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Well, the sight that greeted us

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was beyond anybody's imagination.

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Dogs were barking viciously,

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soldiers marching up and down

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with guns on their shoulders,

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and there was just
a general sense of panic.

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(BELL RINGING DISTANTLY)

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When transport arrived,

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the symphony orchestra was playing.

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I saw them playing when we arrived,

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and I couldn't imagine, I never
heard playing so beautifully,

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because the place where I come from,

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there was no symphony orchestra.

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So, when such a beautiful music,

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well, you don't think
of something bad.

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GEYER: The women's orchestra
was based in the largest camp,

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Auschwitz II Birkenau...

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in barracks that were
next to the main railway

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where most people arrived.

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They often performed
in view of the railway

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and the nearby crematoria.

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We know from survivor testimonies

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that Eine kleine Nachtmusik
by Mozart

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was one of the pieces that
the women's orchestra performed.

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I've managed to research

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what instruments were available
at the time,

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and that comprises
of a very unbalanced orchestra

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of very bizarre instruments,

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and this creates a very,
very distinctive sound.

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# MOZART:
Eine Kleine Nachtmusik Mvt.1 #

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It's difficult to imagine
a more macabre setting

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for music-making.

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(MUSIC CONCLUDES)

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HORNICK: Mothers and children
were taken to the left.

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We did look back
and we saw our mother.

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She had a spotted scarf on her head

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and we waved to her.

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We didn't see our little brothers
because he was, um...

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um, they were small
and in the crowd they were lost.

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We were being...

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directed through...

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the main gate.

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The smell was terrible,

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and we didn't know what it was.

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And this sort of grey,
greasy ash falling down.

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We were taken in to block 14...

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and we were crying,
my sister and I,

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and there was a lady there
who was fed up with us crying.

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Well, she must have been
already seasoned,

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she'd been there a while.

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She said, "Don't be stupid,
you aren't going to see your mother.

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Can you see that smoke coming up

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and all that dirty ash
falling around us?

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That's where your mother's gone."

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PERL: Marching was a completely
daily event.

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But when you say marching,
you visualise a nice

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marching there but...

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but, uh...

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you're talking about crawling along
rather than marching.

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And quite a marching out,

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uh, quite often...

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it wasn't unusual for people
never to return back.

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ROSENBURG:
Normally when you went out to work,

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there was a 50-piece orchestra

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playing and you were
marching to that.

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And, uh...

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when you came back,

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(SINGS)Bur-um-pum-pum-pum-pum

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pum-pur-um, pum-pu-pum,

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pu-pu-rum, bum-bu-bum, bum-bu-bum.

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And you'd march,

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no matter how tired you were.

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As it came before the gate,

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it was "Achtung, attention,

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straighten out your lines,

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count them."

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And the kapot would march and yell,

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commander number so-and-so,

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54 people, 75 people,

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and marching right through
and being counted.

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We knew we were gonna march out,
we heard music,

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"OK, well we're going to work again,
what's gonna happen today?

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Will I ever get back?"

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I thought, "Hell is here

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and there they're making music.
Why, why?"

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And that's how it was.

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Arbeitslager Marsch
by Henryk Krol is the only

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example that we have of a march
written by a prisoner.

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And the story of this piece

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was that he wrote it in Auschwitz,

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and it was played many,
many times when it was there.

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A fellow prisoner was able
to take the music from Auschwitz

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and return it to Henryk Krol

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after the war.

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Today, we don't actually have
the full score, but I've managed

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to research what instruments
were available at that time,

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such as accordion and saxophone,

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which we wouldn't usually
expect in an orchestra.

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It feels to me that there is
a hidden message to this music,

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and we can tell that from

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the dissonance in the melodic lines
and the countermelodies,

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as well as a prolonged passage
in the minor key.

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This marching music
is very difficult

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because we know
that this was the backdrop

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to really unimaginable horrors.

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(MUSIC FADES TO BACKGROUND)

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KROL: It was bearable in the morning

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when the prisoners still marched
somewhat normal.

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But in the afternoon,
the sight was horrific.

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As the concert master, I stood
at the very edge of the orchestra,

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so I had the closest view
of the prisoners passing by.

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I will never forget
the day I had to watch

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as the body of my friend
was carried in.

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Two prisoners were carrying him,

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one at the front
and one at the back,

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and the ways his limbs hang down

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only intensified
the horror of the spectacle.

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("ARBEITSLAGER MARSCH" CONTINUES)

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JUHN: When we came back from work,

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we had to march past

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the orchestra
which was playing, and...

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people that were...

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beaten to death or shot

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were...

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before the orchestra, displayed.

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Dead people propped up on chairs.

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We had to march past,

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to take our hats off
and look at them.

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("ARBEITSLAGER MARSCH" CONTINUES)

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(MUSIC SOFTENS)

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(MUSIC FADES, ENDS)

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(BIRDSONG)

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I was 12 years and three months old.

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We never had the luxury

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of even...

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thinking more than one day ahead.

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They dehumanised us.

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We're not humans anymore.

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We went to this little room
and there was a lady there.

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She says, "You say you play music?"

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I said, "Yes, the accordion."

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She says, "Here, play something,"
she gave me an accordion.

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I knew everything by heart,

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so I play for her
and she says, "Good."

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They said that
the Kommandant decided

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to make an orchestra.

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I say, "An orchestra here?"

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Everybody who was on a special work,

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like kitchen or musician

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00:17:52,360 --> 00:17:56,080
or people who work cleaning up,
um, then they're...

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they were all leaving separately
from the other one,

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and they had all more than we had.

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They all had
a little bit better of food.

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WONTOR-CICHY: To stay healthy,

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to stay clean,

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to stay not exhausted,

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was much easier in the orchestra

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comparing to the other units.

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But to be part of the orchestra,

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uh, was not an easy, uh, story.

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They have to take the exam;

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00:18:35,600 --> 00:18:38,800
basically play
in front of the prisoner

261
00:18:38,840 --> 00:18:42,160
who was appointed to be
their conductor,

262
00:18:42,200 --> 00:18:45,560
and they have to play, uh...
play well.

263
00:18:48,160 --> 00:18:51,360
A Romani violinist,
he played the fiddle beautifully

264
00:18:51,400 --> 00:18:53,720
without knowing
how to read music at all;

265
00:18:53,760 --> 00:18:55,760
a man with perfect pitch.

266
00:18:57,520 --> 00:19:00,400
I was present when his
transport arrived.

267
00:19:00,440 --> 00:19:02,400
When he was stripped naked,

268
00:19:02,440 --> 00:19:06,080
he cried and begs to be allowed
to keep his violin.

269
00:19:06,120 --> 00:19:09,920
He did not want to part with it
under any circumstances.

270
00:19:09,960 --> 00:19:12,880
He gave an extraordinary
demonstration of his ability.

271
00:19:12,920 --> 00:19:16,240
Completely naked,
he played as if in a trance,

272
00:19:16,280 --> 00:19:18,880
wringing sobbing tones
from the fiddle.

273
00:19:19,960 --> 00:19:23,360
This decided his immediate
inclusion in the camp orchestra.

274
00:19:25,280 --> 00:19:27,080
For Roma people,

275
00:19:27,120 --> 00:19:31,000
music and dance and family

276
00:19:31,040 --> 00:19:34,600
are probably the...
the three most important things.

277
00:19:34,640 --> 00:19:37,480
Taking his violin and his music

278
00:19:37,520 --> 00:19:39,520
was just like taking his life.

279
00:19:40,360 --> 00:19:43,160
This composition, it's written

280
00:19:43,200 --> 00:19:45,720
in memory of Jakub Segar,

281
00:19:45,760 --> 00:19:48,240
who was, just like myself,

282
00:19:48,280 --> 00:19:50,640
an Eastern European violinist,

283
00:19:50,680 --> 00:19:52,840
uh, violinist and musician

284
00:19:52,880 --> 00:19:55,080
of, uh, Roma ethnicity.

285
00:19:55,120 --> 00:19:58,320
We are standing at
the Alte Judenrampe.

286
00:19:58,360 --> 00:20:00,760
This must probably have been

287
00:20:00,800 --> 00:20:03,960
the exact point
where he and other victims

288
00:20:04,000 --> 00:20:05,760
got off from the train.

289
00:20:05,800 --> 00:20:09,960
The pain of... of his
can be felt in the air, I think.

290
00:20:14,000 --> 00:20:17,320
GEYER: Jakub Segar was one of
the few Romani musicians

291
00:20:17,360 --> 00:20:19,160
in the Auschwitz 1 Orchestra,

292
00:20:19,200 --> 00:20:23,160
and I think the story
of his recruitment is astonishing.

293
00:20:23,200 --> 00:20:25,640
He was clearly one of the most
gifted violinists,

294
00:20:25,680 --> 00:20:28,640
with the ability
to hear a melody once

295
00:20:28,680 --> 00:20:30,600
and play it back perfectly.

296
00:20:30,640 --> 00:20:32,600
And so in his honour,

297
00:20:32,640 --> 00:20:34,880
I've written this solo violin piece,

298
00:20:34,920 --> 00:20:38,080
drawing on Romani
musical traditions.

299
00:20:41,160 --> 00:20:42,880
This violin is an...

300
00:20:42,920 --> 00:20:46,160
extremely special violin
because, uh...

301
00:20:46,200 --> 00:20:48,800
this violin was here in-in Auschwitz

302
00:20:48,840 --> 00:20:50,520
in the... in the camp

303
00:20:50,560 --> 00:20:52,280
and played by

304
00:20:52,320 --> 00:20:54,600
one of the survivors

305
00:20:54,640 --> 00:20:57,520
who was here in Auschwitz.

306
00:25:13,080 --> 00:25:15,080
(MUSIC CONCLUDES)

307
00:25:32,280 --> 00:25:34,280
(BIRD CHIRPING)

308
00:25:35,920 --> 00:25:39,920
MEYER: There were certain moments
where we had to entertain the SS.

309
00:25:43,200 --> 00:25:45,520
We played popular tunes

310
00:25:45,560 --> 00:25:47,640
and we played potpourris,

311
00:25:47,680 --> 00:25:49,720
we played waltzes, tangos.

312
00:25:51,040 --> 00:25:54,240
Either they brought them from home
and said could you play that for us,

313
00:25:54,280 --> 00:25:57,280
and we would,
or they were popular tunes

314
00:25:57,320 --> 00:25:59,320
and we knew that they liked it.

315
00:26:02,880 --> 00:26:06,680
The Nazis was going to
come and visit us.

316
00:26:07,600 --> 00:26:11,000
They come to have a rest after
the killing that they did,

317
00:26:11,040 --> 00:26:13,040
they're gonna have some music.

318
00:26:16,040 --> 00:26:19,240
MAYER: Believe me, it was
a fantastic, first class orchestra.

319
00:26:20,640 --> 00:26:23,400
It was part of their, um...

320
00:26:23,440 --> 00:26:25,840
enjoyment, the German's enjoyment,

321
00:26:25,880 --> 00:26:28,200
to be sarcastic, to uh,

322
00:26:28,240 --> 00:26:30,240
to give us extra pain, I-I felt.

323
00:26:36,800 --> 00:26:40,640
GEYER: "Nie war Musik so shon" or
"Never Has Music Been So Beautiful"

324
00:26:40,680 --> 00:26:44,240
was requested by SS soldiers
in Auschwitz.

325
00:26:44,960 --> 00:26:46,920
This piece is an example

326
00:26:46,960 --> 00:26:49,920
of one of the foxtrots
popular in Nazi Germany.

327
00:26:52,200 --> 00:26:55,120
To try and understand
the full picture of this arrangement

328
00:26:55,160 --> 00:26:57,600
that was made in Auschwitz,
requires quite a lot

329
00:26:57,640 --> 00:27:00,200
of musical detective work.

330
00:27:00,240 --> 00:27:04,120
As well as referring to
the manuscripts in the archive,

331
00:27:04,160 --> 00:27:07,440
I also referenced recordings
made in Nazi Germany

332
00:27:07,480 --> 00:27:10,080
to recompose the missing gaps.

333
00:27:11,760 --> 00:27:13,440
I think this piece is

334
00:27:13,480 --> 00:27:16,400
the most difficult for us
as musicians to perform,

335
00:27:16,440 --> 00:27:18,040
because...

336
00:27:18,080 --> 00:27:21,600
it's in many ways a beautiful
piece of music, it's luscious.

337
00:27:21,640 --> 00:27:23,640
We are playing in a style

338
00:27:23,680 --> 00:27:25,960
similar to that in Nazi Germany,

339
00:27:26,000 --> 00:27:29,080
so that has this
sweet-sounding vibrato,

340
00:27:29,120 --> 00:27:31,200
the sliding in the strings.

341
00:27:31,240 --> 00:27:33,440
But we have to remember
that this was a piece

342
00:27:33,480 --> 00:27:36,400
that was performed
for the SS on demand,

343
00:27:36,440 --> 00:27:40,120
and many, many people
did find this horrific at the time.

344
00:27:41,440 --> 00:27:43,560
# CASIROLI: Nie War Musik So Shon #

345
00:28:06,120 --> 00:28:08,400
(MUSIC FADES TO BACKGROUND)

346
00:28:08,440 --> 00:28:10,800
The SS men were
sitting there, you know,

347
00:28:10,840 --> 00:28:12,920
comfortably,

348
00:28:12,960 --> 00:28:15,440
drinking their beers or whatever,

349
00:28:15,480 --> 00:28:17,480
and amusing themselves.

350
00:28:18,920 --> 00:28:22,600
Bottles of beer were rolled in
one after the other.

351
00:28:22,640 --> 00:28:24,920
The corks from bottles of champagne

352
00:28:24,960 --> 00:28:27,160
shot into the air with a bang,

353
00:28:27,200 --> 00:28:31,200
and sausage and roast chicken
steamed on the trays.

354
00:28:33,200 --> 00:28:35,400
MARKSTEIN: They loved the music.

355
00:28:36,520 --> 00:28:40,280
And I was standing there
and I thought to myself

356
00:28:40,320 --> 00:28:42,440
once the sun was shining...

357
00:28:43,840 --> 00:28:45,800
and I said, "Where am I?

358
00:28:45,840 --> 00:28:48,080
What's happening to us?

359
00:28:48,120 --> 00:28:49,920
Where is God?

360
00:28:50,920 --> 00:28:54,200
Where is God? Where was this?
Where is the whole world?

361
00:28:54,960 --> 00:28:58,760
Nobody cares about us,
nobody gives a damn what is...

362
00:28:58,800 --> 00:29:00,880
what is happening here?"

363
00:29:00,920 --> 00:29:03,320
("NIE WAR MUSIK SO SHON" CONTINUES)

364
00:29:30,400 --> 00:29:32,200
(MUSIC FADES, ENDS)

365
00:29:32,240 --> 00:29:34,440
(CLOCK TICKING)

366
00:29:41,280 --> 00:29:43,480
We were so fearful.

367
00:29:44,880 --> 00:29:47,000
We were so obedient.

368
00:29:51,360 --> 00:29:54,120
They're-They're just... (SIGHS)

369
00:29:54,160 --> 00:29:56,080
fr-frightening...

370
00:29:56,120 --> 00:29:59,040
frightening, some sort of...

371
00:29:59,080 --> 00:30:01,480
some sort of dangerous...

372
00:30:02,600 --> 00:30:06,600
wild and-and hateful people.

373
00:30:20,600 --> 00:30:22,560
HORNICK: A miracle happened.

374
00:30:22,600 --> 00:30:24,320
My mother's old assistant,

375
00:30:24,360 --> 00:30:26,080
two older cousins,

376
00:30:26,120 --> 00:30:29,520
were in block 16.

377
00:30:32,080 --> 00:30:34,760
And she came to find us,

378
00:30:34,800 --> 00:30:38,800
and um, we were terribly distressed,

379
00:30:38,840 --> 00:30:43,440
and she managed to exchange
with another two people.

380
00:30:43,480 --> 00:30:45,440
I mean, to do that,

381
00:30:45,480 --> 00:30:48,320
you could be whipped to death,

382
00:30:48,360 --> 00:30:50,800
but she managed to exchange us

383
00:30:50,840 --> 00:30:54,200
to her block,
and really took care of us.

384
00:30:54,240 --> 00:30:57,440
So, we were so very lucky.

385
00:31:01,000 --> 00:31:03,200
I came out with my life.

386
00:31:03,240 --> 00:31:05,520
To what do I owe this?

387
00:31:05,560 --> 00:31:07,240
For me, there is no doubt

388
00:31:07,280 --> 00:31:10,240
that I owe this to an unending
series of miracles.

389
00:31:11,840 --> 00:31:14,240
I was helped in this by music,

390
00:31:14,280 --> 00:31:16,680
and so many times I had been told

391
00:31:16,720 --> 00:31:19,320
that one could not survive by music.

392
00:31:22,840 --> 00:31:25,400
One evening,
I found lying on the ground

393
00:31:25,440 --> 00:31:28,280
a crumpled and greasy piece of paper

394
00:31:28,320 --> 00:31:31,600
covered with writing
that attracted my attention.

395
00:31:32,520 --> 00:31:35,880
It smelled of herring
and God only knows what else,

396
00:31:35,920 --> 00:31:38,160
but it was music.

397
00:31:38,200 --> 00:31:41,480
Only the melody,
written by hand but very legibly,

398
00:31:41,520 --> 00:31:45,400
without harmonisation,
without accompaniment.

399
00:31:45,440 --> 00:31:47,200
The title at the top read

400
00:31:47,240 --> 00:31:50,040
"Three Warsaw Polonaises
of the 18th Century"

401
00:31:50,920 --> 00:31:52,920
Author: "Anonymous."

402
00:31:55,120 --> 00:31:58,880
On the greasy piece of paper
that Szymon Laks found

403
00:31:58,920 --> 00:32:01,800
was just a single melodic line,

404
00:32:01,840 --> 00:32:03,880
and so Laks made the decision

405
00:32:03,920 --> 00:32:06,360
to then orchestrate that
for quartet.

406
00:32:06,400 --> 00:32:10,080
Crucially, he didn't say
what quartet he wrote it for.

407
00:32:10,760 --> 00:32:13,160
When I looked at
the instruments that I know

408
00:32:13,200 --> 00:32:15,840
were available to Laks at that time,

409
00:32:15,880 --> 00:32:18,520
for me it felt like a violin,

410
00:32:18,560 --> 00:32:20,280
accordion, a clarinet,

411
00:32:20,320 --> 00:32:23,160
and double bass seemed the most
appropriate instruments

412
00:32:23,200 --> 00:32:25,520
to bring out
the nature of the music.

413
00:32:26,360 --> 00:32:29,640
Given that this piece
was an emphatic

414
00:32:29,680 --> 00:32:31,680
presentation of Polish music,

415
00:32:31,720 --> 00:32:33,680
it would have been forbidden,

416
00:32:33,720 --> 00:32:35,880
which is why we know
that Szymon Laks

417
00:32:35,920 --> 00:32:37,960
performed this piece secretly.

418
00:32:41,360 --> 00:32:43,560
# SZYMON LAKS:
Warsaw Polonaise No.2 #

419
00:35:34,040 --> 00:35:36,040
(MUSIC CONCLUDES)

420
00:35:42,480 --> 00:35:45,880
Nobody survived
without luck, nobody.

421
00:35:47,320 --> 00:35:50,720
But not everybody
that had luck survived.

422
00:35:52,360 --> 00:35:55,440
Well, I come from a family of 11

423
00:35:55,480 --> 00:35:58,880
and the only one that survived
was me and my brother, Alec.

424
00:36:00,400 --> 00:36:03,120
Alec was two years older than me,

425
00:36:03,160 --> 00:36:05,160
and I thank God

426
00:36:05,200 --> 00:36:07,600
that without him being there,

427
00:36:07,640 --> 00:36:09,840
I-I don't think
I would have survived.

428
00:36:11,720 --> 00:36:14,320
Most people survived in pairs...

429
00:36:15,800 --> 00:36:18,520
and if they didn't have
a brother or a sister,

430
00:36:18,560 --> 00:36:22,560
they would find a friend
to hang on to.

431
00:36:23,800 --> 00:36:28,720
'Cause when you are in
that sort of dire... position,

432
00:36:28,760 --> 00:36:31,640
you try to live for each other.

433
00:36:46,640 --> 00:36:49,960
MARKSTEIN: The crematorium
worked full speed,

434
00:36:50,000 --> 00:36:52,640
day and night.

435
00:36:52,680 --> 00:36:55,680
Thick smoke with flames

436
00:36:55,720 --> 00:36:59,440
that you could see and the smell,
of burning human flesh.

437
00:36:59,480 --> 00:37:02,160
And it was so nauseating.

438
00:37:02,200 --> 00:37:04,600
We had it under our skin.

439
00:37:04,640 --> 00:37:08,440
we couldn't get rid of it,
not day and not night, never.

440
00:37:16,240 --> 00:37:20,800
HORNICK: We came with the last
transport of the Hungarian Jews,

441
00:37:20,840 --> 00:37:23,360
and those crematoria

442
00:37:23,400 --> 00:37:27,040
were going day and night
on those transports.

443
00:37:29,440 --> 00:37:32,680
Himmler, um, wanted...

444
00:37:34,920 --> 00:37:38,200
as many burned as possible,
and thousands...

445
00:37:38,240 --> 00:37:40,880
thousands were burned in a day.

446
00:37:44,200 --> 00:37:47,440
The gas chambers were very
close to the orchestra.

447
00:37:47,480 --> 00:37:50,600
You see, where we were,
say if you walk

448
00:37:50,640 --> 00:37:52,840
a block or two blocks at the most,

449
00:37:52,880 --> 00:37:55,800
the gas chambers were there,
and we could see them.

450
00:37:58,520 --> 00:38:01,480
The women's orchestra performed
very close to the crematorium.

451
00:38:02,880 --> 00:38:06,280
Chopin's Tristesse Etude
or Sadness Etude

452
00:38:06,320 --> 00:38:09,560
was a arrangement
that was made by Alma Rose,

453
00:38:09,600 --> 00:38:11,720
the conductor of the
women's orchestra.

454
00:38:11,760 --> 00:38:13,920
There are no manuscripts
that survived

455
00:38:13,960 --> 00:38:17,440
from the women's orchestra,
but one of the violinists remembered

456
00:38:17,480 --> 00:38:21,360
intrinsic details of this
performance and arrangement,

457
00:38:21,400 --> 00:38:25,720
and I've been able to refer to her
notes about this to the letter.

458
00:38:25,760 --> 00:38:30,080
This piece was performed
in the women's barracks

459
00:38:30,120 --> 00:38:33,480
where they both rehearsed and lived,

460
00:38:33,520 --> 00:38:36,400
and they performed
this piece secretly

461
00:38:36,440 --> 00:38:38,640
and very much for themselves.

462
00:38:41,320 --> 00:38:43,720
I'm Jewish and, uh,

463
00:38:43,760 --> 00:38:48,120
most of my family died in Auschwitz.

464
00:38:48,160 --> 00:38:50,280
My, uh, great grandfather

465
00:38:50,320 --> 00:38:52,520
and his wife
and their two children,

466
00:38:52,560 --> 00:38:56,240
um, they fled Belgium in 1940,

467
00:38:56,280 --> 00:38:59,600
which is why I'm here. Um, but...

468
00:39:00,720 --> 00:39:03,320
the eight brothers and sisters
on either side,

469
00:39:03,360 --> 00:39:05,320
uh, didn't leave,

470
00:39:05,360 --> 00:39:07,800
and they were taken away
by the Nazis

471
00:39:07,840 --> 00:39:09,640
and taken to Auschwitz.

472
00:39:09,680 --> 00:39:11,440
They all died.

473
00:39:11,480 --> 00:39:13,280
Um, we've got photos at home

474
00:39:13,320 --> 00:39:15,120
of little cousins,

475
00:39:15,160 --> 00:39:17,880
and knowing that-that
they didn't make it.

476
00:39:19,040 --> 00:39:22,040
The song is about, um...

477
00:39:22,880 --> 00:39:27,200
a woman who has a song within her,
a beautiful song,

478
00:39:27,240 --> 00:39:29,600
but then at the end she says,

479
00:39:29,640 --> 00:39:32,080
but I don't want it
in me anymore, so...

480
00:39:32,120 --> 00:39:34,160
my interpretation is that

481
00:39:34,200 --> 00:39:36,720
she wants to be able
to express herself,

482
00:39:36,760 --> 00:39:39,000
she wants to be able to perform it

483
00:39:39,040 --> 00:39:42,080
and sing it,
or for somebody to sing it.

484
00:39:42,120 --> 00:39:44,840
But she can't express herself,

485
00:39:44,880 --> 00:39:46,680
uh, because...

486
00:39:46,720 --> 00:39:48,680
she's in Auschwitz.

487
00:39:48,720 --> 00:39:50,680
I'm singing this piece

488
00:39:50,720 --> 00:39:52,920
for all the people

489
00:39:52,960 --> 00:39:55,360
that didn't survive Auschwitz,

490
00:39:55,400 --> 00:39:57,400
including Alma Rose,

491
00:39:57,440 --> 00:39:59,440
who wrote the piece.

492
00:40:06,840 --> 00:40:09,320
(ORCHESTRAL MUSIC BEGINS)

493
00:40:17,080 --> 00:40:19,080
(SINGS IN GERMAN)

494
00:42:23,280 --> 00:42:25,080
(MUSIC CONCLUDES)

495
00:42:29,126 --> 00:42:31,120
(LEAVES RUSTLE GENTLY)

496
00:42:40,240 --> 00:42:43,320
PERL: My brother, David,
he was the eldest.

497
00:42:45,320 --> 00:42:47,920
He was old enough,
he was 22-years-old,

498
00:42:47,960 --> 00:42:52,200
and he was old enough
to go into the Sondercommando.

499
00:42:52,240 --> 00:42:55,840
The Sondercommando are the people

500
00:42:55,880 --> 00:42:58,360
who worked in the crematoria,

501
00:42:58,400 --> 00:43:00,600
and they were kept separate to us.

502
00:43:01,440 --> 00:43:04,560
The only way we knew
that he was there is that we were...

503
00:43:04,600 --> 00:43:07,000
we had a parcel of food
thrown over the...

504
00:43:07,040 --> 00:43:09,240
for the wire, the barbed wires,

505
00:43:09,280 --> 00:43:11,920
and after a while it stopped.

506
00:43:11,960 --> 00:43:15,120
And we never-never
heard or seen him since.

507
00:43:15,160 --> 00:43:17,400
But we found out that usually

508
00:43:17,440 --> 00:43:19,360
they themselves used to be, uh,

509
00:43:19,400 --> 00:43:22,200
liq-liquidated after
three or four weeks.

510
00:43:25,600 --> 00:43:28,200
The horror is just unimaginable.

511
00:43:33,880 --> 00:43:37,320
WONTOR-CICHY: Sondercommando
was a very special unit.

512
00:43:37,360 --> 00:43:41,320
Young, healthy, most were Jewish.

513
00:43:41,360 --> 00:43:43,480
They have to take the corpses

514
00:43:43,520 --> 00:43:46,440
of the people murdered
in the gas chamber

515
00:43:46,480 --> 00:43:51,240
and carry them to crematorias,
carry them for burning.

516
00:43:52,480 --> 00:43:56,080
And they wanted to send
a message outside

517
00:43:56,120 --> 00:43:58,880
to try to inform the world

518
00:43:58,920 --> 00:44:02,040
about the crime committed.

519
00:44:02,080 --> 00:44:04,240
A camera was smuggled

520
00:44:04,280 --> 00:44:08,480
into this very close area
of Sondercommando...

521
00:44:09,760 --> 00:44:12,360
and a few photographs were taken.

522
00:44:13,320 --> 00:44:17,000
One of the photo
they decided to take

523
00:44:17,040 --> 00:44:18,720
is a little field

524
00:44:18,760 --> 00:44:20,800
and some people standing;

525
00:44:20,840 --> 00:44:25,160
standing around something
what is on the ground:

526
00:44:25,200 --> 00:44:28,000
corpses of people that were murdered

527
00:44:28,040 --> 00:44:30,560
a few minutes before.

528
00:44:30,600 --> 00:44:33,520
And they cannot
be burned in crematorium

529
00:44:33,560 --> 00:44:36,480
because the crematorium
is either damaged

530
00:44:36,520 --> 00:44:38,480
or is just too small

531
00:44:38,520 --> 00:44:40,360
to burn all the bodies

532
00:44:40,400 --> 00:44:43,200
of the people murdered
in the gas chamber

533
00:44:43,240 --> 00:44:46,280
within this period of time.

534
00:44:46,320 --> 00:44:48,320
(UNEASY TONE)

535
00:44:59,280 --> 00:45:03,480
The one thing I can never,
ever forget is...

536
00:45:03,520 --> 00:45:05,920
looking back
and waving at our mother.

537
00:45:10,640 --> 00:45:12,280
Yeah.

538
00:45:15,640 --> 00:45:18,080
I will never forget how,
after the memorable

539
00:45:18,120 --> 00:45:21,640
mass execution of the prisoners
from the Silesian transport,

540
00:45:21,680 --> 00:45:23,960
which shook the entire camp,

541
00:45:24,000 --> 00:45:26,400
Kopycinski sat down at the piano

542
00:45:26,440 --> 00:45:30,040
and played Chopin's
Revolutionary Etude.

543
00:45:30,080 --> 00:45:32,480
It was summer, in the afternoon,

544
00:45:32,520 --> 00:45:35,360
the windows of the music hall
were wide open,

545
00:45:35,400 --> 00:45:38,600
and the music could be heard
not only throughout the camp,

546
00:45:38,640 --> 00:45:43,120
but also in the SS-occupied
buildings across the wire.

547
00:45:43,160 --> 00:45:46,920
It took extraordinary courage
to do something like that.

548
00:45:49,040 --> 00:45:53,320
The piece Adam Kopycinski played
was Chopin's Revolutionary Etude,

549
00:45:53,360 --> 00:45:55,560
and you can understand why
he made that decision.

550
00:45:55,600 --> 00:45:59,280
That particular piece has been
associated with Polish resistance

551
00:45:59,320 --> 00:46:02,040
for many years before that point.

552
00:48:32,720 --> 00:48:34,720
(MUSIC CONCLUDES)

553
00:48:41,840 --> 00:48:44,160
Music does have the ability

554
00:48:44,200 --> 00:48:47,520
to speak beyond specific meaning,

555
00:48:47,560 --> 00:48:49,680
and therefore

556
00:48:49,720 --> 00:48:52,920
music can be very valuable
as a way in

557
00:48:52,960 --> 00:48:56,520
to try and engage with the Holocaust

558
00:48:56,560 --> 00:49:00,000
and find the right
emotion and feelings.

559
00:49:04,000 --> 00:49:07,880
This is one of the most
delicate manuscripts.

560
00:49:07,920 --> 00:49:10,120
It's written in faded pencil.

561
00:49:12,440 --> 00:49:17,160
And tucked inside... these pages

562
00:49:17,200 --> 00:49:19,400
we will find something
very special.

563
00:49:23,280 --> 00:49:25,120
This was the manuscript

564
00:49:25,160 --> 00:49:28,400
that set me on this path
eight years ago.

565
00:49:30,320 --> 00:49:32,480
This is an unsigned,

566
00:49:32,520 --> 00:49:34,600
unfinished manuscript.

567
00:49:34,640 --> 00:49:37,040
When I first saw it,

568
00:49:37,080 --> 00:49:40,000
I had goosebumps
down the back of my neck,

569
00:49:40,040 --> 00:49:42,040
because the handwriting

570
00:49:42,080 --> 00:49:44,280
is the exact same as mine.

571
00:49:44,320 --> 00:49:48,600
And so I felt it was
my duty to finish it.

572
00:49:50,240 --> 00:49:52,080
We can tell it's a sketch

573
00:49:52,120 --> 00:49:54,680
because we can see
these rubbings out,

574
00:49:54,720 --> 00:49:56,640
which shows that our composer

575
00:49:56,680 --> 00:50:00,000
changed his mind as he was writing.

576
00:50:00,040 --> 00:50:02,600
Importantly, also here at the end,

577
00:50:02,640 --> 00:50:05,800
there's no double bar line,
it's just a normal bar,

578
00:50:05,840 --> 00:50:08,960
which means that the piece
is not finished.

579
00:50:09,800 --> 00:50:11,680
It is in fact a short score

580
00:50:11,720 --> 00:50:14,480
for a much larger instrumentation.

581
00:50:14,520 --> 00:50:16,920
A sketch for something bigger.

582
00:50:17,640 --> 00:50:20,760
The title, at least we think,

583
00:50:20,800 --> 00:50:23,600
is "Daremne Zale,"

584
00:50:23,640 --> 00:50:25,160
and this is Polish

585
00:50:25,200 --> 00:50:28,360
for "Futile Regrets."

586
00:50:28,400 --> 00:50:32,720
This piece has been haunting me
for eight years...

587
00:50:32,760 --> 00:50:37,840
because I still
don't know who it's by,

588
00:50:37,880 --> 00:50:40,720
and the only clue...

589
00:50:41,640 --> 00:50:43,640
is the handwriting itself.

590
00:50:44,520 --> 00:50:46,720
(HUMS MELODY)

591
00:50:53,400 --> 00:50:55,400
(CONTINUES HUMMING MELODY)

592
00:51:02,640 --> 00:51:04,640
(HUMMING BEGINS TO FADE)

593
00:51:08,120 --> 00:51:10,080
(HUMMING FADES, ENDS)

594
00:51:12,128 --> 00:51:14,120
(LEAVES RUSTLE)

595
00:51:21,560 --> 00:51:24,000
POLLACK:
The Allied Forces were coming!

596
00:51:25,920 --> 00:51:29,080
And lo and behold...

597
00:51:30,400 --> 00:51:32,720
I feel a pair of hands...

598
00:51:34,480 --> 00:51:37,200
a gentle pair of hands...

599
00:51:38,200 --> 00:51:40,400
lifting me up...

600
00:51:42,680 --> 00:51:47,240
and putting me in
a waiting ambulance.

601
00:51:49,480 --> 00:51:51,480
And it was warm...

602
00:51:53,320 --> 00:51:55,520
with gentle voices.

603
00:51:58,280 --> 00:52:02,040
If they spoke just German, no.

604
00:52:03,880 --> 00:52:07,520
They spoke and said...

605
00:52:09,720 --> 00:52:11,440
"Hold on."

606
00:52:12,560 --> 00:52:14,760
I remember it so clearly.

607
00:52:20,920 --> 00:52:24,520
The fact that we were given a dress

608
00:52:24,560 --> 00:52:26,920
and a coat

609
00:52:26,960 --> 00:52:29,200
and shoes,

610
00:52:29,240 --> 00:52:32,800
that was a ray of hope

611
00:52:32,840 --> 00:52:34,840
that we might survive...

612
00:52:36,720 --> 00:52:40,120
by, um... by leaving Auschwitz.

613
00:52:40,960 --> 00:52:42,960
(BIRDS CHIRPING)

614
00:52:44,200 --> 00:52:46,920
We'd pass for the last time
by the buildings

615
00:52:46,960 --> 00:52:49,920
we have walked past daily for years,

616
00:52:49,960 --> 00:52:53,280
and suddenly,
somewhere ahead a song rises;

617
00:52:53,320 --> 00:52:55,560
a Polish song of course,

618
00:52:55,600 --> 00:52:58,160
light-hearted and carefree.

619
00:52:58,200 --> 00:53:01,120
And our dread of the guards fades.

620
00:53:01,160 --> 00:53:04,040
Our sorrows melt away.

621
00:53:04,920 --> 00:53:06,720
At Katowice Station,

622
00:53:06,760 --> 00:53:10,560
the air echoed with a bugle call
from St. Mary's Tower,

623
00:53:10,600 --> 00:53:13,920
and Polish songs played
by the Auschwitz Orchestra,

624
00:53:13,960 --> 00:53:16,560
which was allowed to bring
their instruments.

625
00:53:17,480 --> 00:53:20,120
Placed in a single train car,

626
00:53:20,160 --> 00:53:22,160
they played a farewell.

627
00:53:27,400 --> 00:53:29,680
(SPEAKS POLISH)

628
00:54:50,320 --> 00:54:52,120
(MUSIC CONCLUDES)

629
00:55:12,000 --> 00:55:14,640
I'm trying to find out
who wrote the unfinished

630
00:55:14,680 --> 00:55:17,840
musical sketch "Daremne Zale."

631
00:55:17,880 --> 00:55:20,440
When I found it
in the Auschwitz archives,

632
00:55:20,480 --> 00:55:23,720
it was tucked into
the first part of a 19th century

633
00:55:23,760 --> 00:55:26,680
Polish operetta that had been
copied out by hand.

634
00:55:26,720 --> 00:55:29,240
(SPEAKS INDISTINCTLY)
Just over there, straight.

635
00:55:29,280 --> 00:55:32,080
I eventually tracked down
the other half of the operetta

636
00:55:32,120 --> 00:55:34,120
in the Polish National Library,

637
00:55:34,160 --> 00:55:36,200
and more importantly,

638
00:55:36,240 --> 00:55:37,960
the name of the copyist,

639
00:55:38,000 --> 00:55:40,840
Mieczyslaw Krzynski .

640
00:55:40,880 --> 00:55:43,680
We know from
Krzynski's prisoner number

641
00:55:43,720 --> 00:55:48,640
that he arrived in Auschwitz
on the 17th of April 1942.

642
00:55:48,680 --> 00:55:50,720
Krzynski was the deputy conductor

643
00:55:50,760 --> 00:55:52,880
of the Auschwitz 1 Orchestra,

644
00:55:52,920 --> 00:55:55,320
so not only was he
making arrangements,

645
00:55:55,360 --> 00:55:58,960
but he was also copying the various
parts for all the players.

646
00:55:59,840 --> 00:56:01,440
(SPEAKS POLISH)

647
00:56:02,480 --> 00:56:06,640
My hunch is that Krzynski
wrote Daremne Zale,

648
00:56:06,680 --> 00:56:09,840
but to know for sure,
I need to compare the writing

649
00:56:09,880 --> 00:56:11,680
on the two manuscripts.

650
00:56:21,840 --> 00:56:23,160
So, this is the...

651
00:56:23,200 --> 00:56:26,080
the name of the operetta itself.

652
00:56:27,320 --> 00:56:29,840
All we need now is the signature.

653
00:56:31,200 --> 00:56:33,000
And here it is.

654
00:56:34,120 --> 00:56:36,720
1935, so that's the date
this was written,

655
00:56:36,760 --> 00:56:38,360
before the war,

656
00:56:38,400 --> 00:56:42,200
but most importantly,
most interestingly, the signature:

657
00:56:42,240 --> 00:56:44,840
"M. K."

658
00:56:44,880 --> 00:56:48,200
And that stands for
Mieczyslaw Krzynski.

659
00:56:49,200 --> 00:56:51,480
So, one of the ways we can tell

660
00:56:51,520 --> 00:56:54,120
who the author is from a manuscript

661
00:56:54,160 --> 00:56:55,960
is the treble clef.

662
00:56:56,000 --> 00:56:59,560
And every composer writes
their treble clef differently.

663
00:56:59,600 --> 00:57:02,120
So, if we compare these

664
00:57:02,160 --> 00:57:06,280
to our unsigned and unfinished
composition sketch...

665
00:57:07,440 --> 00:57:10,440
there's a very striking similarity

666
00:57:10,480 --> 00:57:12,440
between the two.

667
00:57:13,520 --> 00:57:16,480
So, we can see that it has the same

668
00:57:16,520 --> 00:57:19,240
swivel shape here,

669
00:57:19,280 --> 00:57:23,160
and also the top
of the treble clef here

670
00:57:23,200 --> 00:57:27,480
doesn't have the circle
that we would expect to see.

671
00:57:27,520 --> 00:57:29,760
The other aspect to look at is

672
00:57:29,800 --> 00:57:31,480
the notes themselves.

673
00:57:31,520 --> 00:57:34,160
So, in many cases, such as here,

674
00:57:34,200 --> 00:57:38,040
we can see that
our composer has written

675
00:57:38,080 --> 00:57:39,680
the notehead first,

676
00:57:39,720 --> 00:57:41,800
and then somewhat
hurriedly afterwards

677
00:57:41,840 --> 00:57:44,520
has drawn the stem
and then the bean.

678
00:57:44,560 --> 00:57:46,760
And again this matches exactly

679
00:57:46,800 --> 00:57:50,640
with that of the composition sketch
in the archive.

680
00:57:52,080 --> 00:57:55,000
The similarity is just so striking

681
00:57:55,040 --> 00:57:58,800
that it tells us that this
really must be by the same hand.

682
00:58:02,320 --> 00:58:04,480
My brother, Mieczyslaw Krzynski,

683
00:58:04,520 --> 00:58:06,600
was a professor of music
and a composer

684
00:58:06,640 --> 00:58:09,840
who wrote and composed
the missing pieces

685
00:58:09,880 --> 00:58:12,000
for the various instruments

686
00:58:12,040 --> 00:58:14,200
that were not available.
He played a tuba

687
00:58:14,240 --> 00:58:18,040
in the brass and the violin
in the string orchestra.

688
00:58:19,800 --> 00:58:22,040
I think the reason why
Mieczyslaw Krzynski

689
00:58:22,080 --> 00:58:25,720
didn't finish his piece
was because he couldn't perform it.

690
00:58:25,760 --> 00:58:28,040
It is a piece that is

691
00:58:28,080 --> 00:58:29,920
deeply sorrowful,

692
00:58:29,960 --> 00:58:32,960
and I can't imagine any context

693
00:58:33,000 --> 00:58:35,560
in which that
would have been allowed.

694
00:58:35,600 --> 00:58:38,720
That piece was written
for himself, I think,

695
00:58:38,760 --> 00:58:42,320
and finally,
we are giving voice to him.

696
00:58:43,800 --> 00:58:46,200
And I can only hope that...

697
00:58:46,240 --> 00:58:48,165
he's pleased with what I've done.

698
00:58:53,120 --> 00:58:55,120
(ORCHESTRAL MUSIC BEGINS SOFTLY)

699
01:02:38,880 --> 01:02:40,880
(ORCHESTRAL MUSIC CONCLUDES)

700
01:02:54,440 --> 01:02:56,240
PERL: Afterwards...

701
01:02:57,000 --> 01:02:59,240
I think we were scared.

702
01:02:59,280 --> 01:03:01,480
Scared to face reality.

703
01:03:03,600 --> 01:03:05,680
I think, my whole life,

704
01:03:05,720 --> 01:03:07,640
all I wanted to do

705
01:03:07,680 --> 01:03:10,920
is go through life
without getting any punishment.

706
01:03:10,960 --> 01:03:14,320
I'd try not to look at people,
I'd try not to ask questions.

707
01:03:15,920 --> 01:03:19,080
All of us had problems...

708
01:03:20,840 --> 01:03:23,240
and life had a different meaning.

709
01:03:24,960 --> 01:03:26,960
Entirely different meaning.

710
01:03:30,480 --> 01:03:33,400
When I go round
and talk about my experiences,

711
01:03:33,440 --> 01:03:35,040
it's painful,

712
01:03:35,080 --> 01:03:37,280
but I feel as though...

713
01:03:39,960 --> 01:03:43,120
that humanity has got to learn,

714
01:03:43,160 --> 01:03:45,520
and if humanity doesn't learn,

715
01:03:45,560 --> 01:03:48,320
it will happen again
and again and again.

716
01:03:48,360 --> 01:03:51,440
It might come
in a different overcoat,

717
01:03:51,480 --> 01:03:53,680
but one has to be very careful.

718
01:03:55,520 --> 01:03:57,520
(BIRDSONG)

719
01:04:01,800 --> 01:04:04,280
HORNICK: So, I find great...

720
01:04:05,320 --> 01:04:07,280
comfort when I come out here.

721
01:04:07,320 --> 01:04:09,560
Whatever I have on my mind,

722
01:04:09,600 --> 01:04:11,760
I come out into the garden.

723
01:04:13,760 --> 01:04:15,720
It's just lovely.

724
01:04:21,360 --> 01:04:25,880
It is very, very important
that, uh, people should hear

725
01:04:25,920 --> 01:04:28,960
and, um, that is the reason at 95

726
01:04:29,000 --> 01:04:30,640
I am still willing

727
01:04:30,680 --> 01:04:33,880
to go and talk to young people,

728
01:04:33,920 --> 01:04:36,880
because they all tell me
it's different

729
01:04:36,920 --> 01:04:41,600
to hear our, uh,
testimonies of survivors.

730
01:04:41,640 --> 01:04:45,840
I just feel very lucky to have
come out alive, out of there,

731
01:04:45,880 --> 01:04:49,320
and reasonably sane, I think.

732
01:04:49,360 --> 01:04:51,360
(LAUGHS)

733
01:04:53,360 --> 01:04:55,360
(CLOCK TICKING)

734
01:05:03,200 --> 01:05:05,200
They took me

735
01:05:05,240 --> 01:05:09,360
and a few others
who so managed to survive...

736
01:05:10,320 --> 01:05:13,920
to Sweden...

737
01:05:13,960 --> 01:05:16,760
for our recovery.

738
01:05:20,280 --> 01:05:22,080
And that was...

739
01:05:24,240 --> 01:05:26,040
magic.

740
01:05:28,080 --> 01:05:32,360
And every night
we listened to music,

741
01:05:32,400 --> 01:05:35,000
and I interpreted that music...

742
01:05:36,280 --> 01:05:38,600
for my life.

743
01:05:38,640 --> 01:05:40,520
How the tragedy

744
01:05:40,560 --> 01:05:42,800
destroyed everyone

745
01:05:42,840 --> 01:05:44,600
in my family;

746
01:05:44,640 --> 01:05:47,480
more than 50 members I lost.

747
01:05:50,920 --> 01:05:53,320
And every night...

748
01:05:54,400 --> 01:05:59,360
that was our spiritual recovery.

749
01:06:01,040 --> 01:06:02,960
That there is...

750
01:06:03,000 --> 01:06:06,200
perhaps beauty in the world.

751
01:06:07,320 --> 01:06:09,480
Perhaps.

752
01:06:39,920 --> 01:06:43,320
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