An introduction to a three-concert series: The existence and place of music in the Nazi concentration camps did not begin to be recognised as a historical reality until the 1980s. The relationship between the arts and the particular context in which they were practiced was - and continues to be - painful and seems to exceed the limits of understanding.
|Translated title of the contribution||Terezín: composing under terror|
|Number of pages||11|
|Specialist publication||Ciclo de Miercoles|
|Publisher||Fundacion Juan March|
|Publication status||Published - 24 Feb 2021|