Viktor Ullmann arrived in Theresienstadt on 8 September 1942. He was 44
years old, a Jew and a former officer of the Austrian army. Being an
accomplished composer, well known for his organizational skills, he was
immediately solicited by the Freizeitgestaltung to organize concerts and
conferences, to write musical reviews (he authored 26 such texts), and
to compose. In fact, during the two years before his transport to
Auschwitz, he wrote several instrumental and vocal works, including song cycles for baritone and piano, one sonata for violin and piano, his
third string quartet, three piano sonatas (numbers 5, 6 and 7) as well
as an opera in one act on a libretto by the young poet Peter Kien Der
Kaiser von Atlantis oder die Tod-Verweigerung (The Emperor of Atlantis,
or the Disobedience of Death). Ever since his arrival in the ghetto,
Ullmann seems aware of the precariousness of his future, as is shown in
the quite openly ironic remark on the manuscript of his piano sonata nº
7, dated 22 August 1944: “The performance rights are reserved by the
composer until his death”, so, not for long.
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