Alma Rosé

Alma Maria Rosé (3 November 1906 – 5 April 1944) was an Austrian violinist of Jewish descent. Her uncle was the composer Gustav Mahler. She was deported by the Nazis to the concentration camp at Auschwitz-Birkenau. There, for 10 months, she directed an orchestra of female prisoners who played for their captors to stay alive. As director, Rosé held the status of kapo of the music block.[1]

Rosé died in the concentration camp of a sudden illness, possibly food poisoning. Her experiences in the camp were depicted in Playing for Time.

Early years

Alma Rosé's father was the violinist Arnold Rosé (né Rosenblum; 1863–1946) who was the leader of the Vienna Philharmonic Orchestra for 50 years: from 1881 to 1931 as well as leader of the Vienna State Opera orchestra and leader of the legendary Rosé String Quartet. Her mother, Justine (died 22 August 1938), was Gustav Mahler's sister. Alma was named for her uncle Gustav's wife, Alma Mahler (née Schindler); her elder sibling was Alfred E. Rosé.

Marriage

Alma grew up to be a violinist. In 1930 she married the Czech violinist Váša Příhoda (1900–1960). In 1935 the marriage was dissolved.[2]

Career

Rosé had a highly successful career. In 1932 she founded the woman's orchestra, Die Wiener Walzermädeln (The Waltzing Girls of Vienna). The concertmistress was Anny Kux, a friend. The ensemble played to a very high standard, undertaking concert tours in Austria, Germany, Czechoslovakia, and Poland.[3]

Escape from the Nazis and final arrest

After the annexation of Austria with Germany in 1938 Alma and her father Arnold, also a famous violin virtuoso, managed to escape to London. She went on her own to the Netherlands where she believed she could resume her musical career.[4]

When the Germans occupied the Netherlands, she was trapped. A fictitious marriage to a Dutch engineer named August van Leeuwen Boomkamp did not protect her; nor did her nominal status as a Christian convert. She fled to France, but in late 1942 when she tried to escape to neutral Switzerland, she was arrested by the Gestapo. After several months in the internment camp of Drancy, she was deported in July 1943 to the concentration camp at Auschwitz.[5]

Auschwitz

Upon arrival in Auschwitz, Rosé was quarantined and became very ill, but eventually recovered. She assumed leadership of the Mädchenorchester von Auschwitz (Girls Orchestra of Auschwitz). The orchestra had been in existence before Rosé's arrival, a pet project of SS-Oberaufseherin ("SS chief supervisor") Maria Mandel. Before Rosé, the orchestra was conducted by Zofia Czajkowska, a Polish teacher. The ensemble consisted mainly of amateur musicians, with a string section, but also accordions, percussion, guitars, flute, recorder and mandolins, but lacked a brass section. Singers and music-copyists rounded-out the membership of the Music Block.[6] The orchestra's primary function was to play at the main gate each morning and evening as the prisoners left for and returned from their work assignments; the orchestra also gave weekend concerts for the prisoners and the SS and entertained at SS functions.

Rosé conducted, orchestrated and sometimes played violin solos during its concerts. Given that this ensemble had but two or three professional musicians, the group rehearsed eight hours daily under Rosé's demanding leadership[7]. Apart from the official activity, she had the band rehearse and play forbidden music by Polish and Jewish composers to boost the spirits of band members and fellow inmates they trusted. She herself orchestrated Fryderyk Chopin’s Etude in E major, Op. 10, No. 3 and combined it with the lyrics she wrote. The conductor helped to mold the orchestra into an excellent ensemble, all of whose members survived during her tenure, and after her death, all except two (Lola Kroner and Julie Stroumsa) would live to see the end of the war. Rosé died, aged 37, of a sudden illness at the camp, possibly food poisoning.[8] During this illness, Josef Mengele[9] signed an order for a spinal tap to be performed on Rosé. The orchestra included two professional musicians, cellist Anita Lasker-Wallfisch and vocalist/pianist Fania Fénelon, each of whom wrote memoirs of their time in the orchestra. Fénelon's account, Playing for Time, was made into a feature film of the same name, and was decried by orchestra survivors as being misleading, and containing preposterous distortions of the truth.[10]

Alma's father, Arnold Rosé died in England in 1946.[11] Her brother, Alfred Rosé and his wife Maria Caroline (née Schmutzer) Rosé, had fled Germany in 1938, eventually settling in Cincinnati, OH, prior to their move to London, Ontario, Canada, ca. 1948. Maria and Alfred's acquaintance with local London, Ontario newspaper critic, Richard Newman, eventually resulted in Alma's biography.

Recordings

Arnold Rosé's performances together with Alma were eventually released on CD.[12]

gollark: There is a vast incomprehensible system devoted to giving me and other people slightly faster computers and cheaper food and generally slightly nicer things, and it's great.
gollark: That would be a "bad idea", then.
gollark: I like having the kind of high-level coordination which lets me have things like computers exist.
gollark: I agree, except for the part where it would be good.
gollark: Something being good in a hypothetical world which could not actually happen and would break rapidly if it did isn't actually very good.

See also

References
  1. Hannah Arendt and the Limits of Total Domination: The Holocaust, Plurality and Resistance, Routledge, Michal Aharony, note 144
  2. Newman, Richard and Karen Kirtley. Alma Rose: Vienna to Auschwitz. Portland, OR.: Amadeus Press, 2000, p. 301.
  3. Newman, Richard and Karen Kirtley. Alma Rose: Vienna to Auschwitz. Portland, OR.: 2000, p. 82.
  4. Newman, Richard and Karen Kirtley. Alma Rose: Vienna to Auschwitz.Portland, OR.: Amadeus Press, 2000, p. 17.
  5. Newman, Richard and Karen Kirtley. Alma Rose: Vienna to Auschwitz. Portland, OR.: Amadeus Press, 2000, p. 206.
  6. Newman, Richard, 1921- (2000). Alma Rosé : Vienna to Auschwitz. Kirtley, Karen. Portland, Or.: Amadeus Press. pp. 382-383. ISBN 1-57467-051-4. OCLC 41834672.CS1 maint: multiple names: authors list (link)
  7. "Music and the Holocaust: Rosé, Alma". holocaustmusic.ort.org. Retrieved 2020-02-18.
  8. Lebrecht, Norman (5 Apr 2000). "The true humanity of Alma Rosé". Telegraph. Retrieved 4 Feb 2020.
  9. Newman, Richard, 1921- (2000). Alma Rosé : Vienna to Auschwitz. Kirtley, Karen. Portland, Or.: Amadeus Press. pp. 301. ISBN 1-57467-051-4. OCLC 41834672.CS1 maint: multiple names: authors list (link)
  10. Newman, Richard, 1921- (2000). Alma Rosé : Vienna to Auschwitz. Kirtley, Karen. Portland, Or.: Amadeus Press. pp. 323-324. ISBN 1-57467-051-4. OCLC 41834672.CS1 maint: multiple names: authors list (link)
  11. "Professor Arnold Rosé". The Times. 26 Aug 1946. p. 7.
  12. The Penguin Guide to Compact Discs and Cassettes. Ivan March, Edward Greenfield, Robert Layton - 1996 "Arnold Rosé, (i) with Alma Rosé, Beethoven: String quartets Nos. 4, 10 & 14. (***) Biddulph mono LAB O56-7. The recordings were made from 1927-32. The issue is valuable in that it affords an insight into a style of playing that has long passed into history."

Further reading
  • Richard Newman & Karen Kirtley: Alma Rosé: Vienna to Auschwitz. Amadeus Press ISBN 1-57467-051-4
  • Richard Newman & Karen Kirtley: Alma Rose Wien 1906 - Auschwitz 1944. Weidle Verlag. ISBN 978-3931135669
  • Fania Fénelon: Playing for Time Syracuse University Press (December 1997); ISBN 978-0815604945
  • Anita Lasker Wallfisch: Inherit the Truth, Thomas Dunne Books; 1st edition (April 22, 2000), ISBN 978-0312208974

Theater
  • Claudio Tomati: Alma Rosé Sedizioni a Teatro (2006); ISBN 88-89484-07-1
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