Sounds of Apocalypse: Music in Poland under German Occupation. By Katarzyna Naliwajek

Le résumé fourni par la source

Musicologists who study Poland during the Second World War are faced with an intractable challenge. They must confront violence on a scale that is difficult to imagine. They must grapple with the murder of millions of civilians, cities reduced to ruin, and mass displacement, without laundering the countless individual tragedies behind these events into tales of collective loss or national martyrdom. At the same time, they must make sense of a cultural moment when live, classical music was not only ubiquitous, but also mattered profoundly to musicians and listeners who, by nearly any standard, had far more pressing concerns than attending chamber music recitals or composing sonatas. Faced with this seeming incongruence between the all-encompassing violence and artistic flourishing of the occupation era, it is all too easy for commentators to embrace reductive narratives, offering milquetoast tributes to the power of music to aid survival on the one hand, or understating its importance in the face of trauma on the other.

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