Turning to more serious musical fare, Steven Aschheim reviews Time’s Echo: The Second World War, The Holocaust, and the Music of Remembrance, a new book by Jeremy Eichler:
It is through the particular stories of people and places that the perplexities, creative imperatives, elisions, and levels of remembrance come surprisingly alive. At its deepest level, Time’s Echo is about the painful but also potentially liberating interactions between culture and catastrophe.
Some of [the stories in the book] contain deliciously ironic, even semi-comic, elements. Few are likely to know . . . that the first 1948 performance of Arnold Schoenberg’s A Survivor from Warsaw—perhaps the earliest high-modernist expression of post-war memorial music that daringly depicted the Holocaust in explicitly shocking terms—was performed in a gymnasium in Albuquerque, New Mexico, with a participating chorus of cowboys! But, of course, Eichler’s music of remembrance is of the most serious kind, each example integrating horror and suffering and rejecting false consolation into the marrow of its music.
My admiration for this book is almost boundless. . . . But, at a time of war, the breakdown of Enlightenment values, and the disintegration of the liberal order, I would answer Eichler’s question, “Should genocide really be the stuff of a night out at Carnegie Hall?,’’ with only a very half-hearted affirmative. More than ever, we need the humanizing classical tradition. Consolation in dark times is not always a bad thing.
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