The articles on this site were largely produced by a core research team. In addition, a number were produced by guest writers, and their specific contributions are indicated on the individual articles.
About the Writers
Dr. Hannah Wilson is Content Director for the World ORT 'Music & The Holocaust' project. She is a postdoctoral researcher and lecturer in history and memory studies at the Centre for Public History, Heritage and Memory at Nottingham Trent University. In 2022, she obtained her PhD for her thesis “Let my Cry Have No Place, let it Cry through Everything: The Material Memory of Sobibor Death Camp”. She received her Masters in Holocaust and Genocide Studies from the University of Haifa, Israel. She is Communications Officer for the British and Irish Association for Holocaust Studies and has interned at the Jewish Historical Institute (Warsaw), the Ghetto Fighters' House Museum (Israel) and Imperial War Museum (London). Wilson serves as an Ethics Committee Member for the Memory Studies Association, and the European Holocaust Research Infrastructure User Advisory Board Member. She has co-curated several exhibitions and has published her research widely. Wilson has been awarded multiple awards, fellowships, and scholarships within her field. Between 2014-2019, she has been involved in the archaeological excavations at the former sites of the Sobibor and Treblinka death camps. Her research interests include material and visual culture, the inheritance of memory, and acts of commemoration associated with the Holocaust.
Shirli Gilbert is Professor of Modern Jewish History at University College London and the Director of the Sir Martin Gilbert Learning Centre. She is a specialist in modern Jewish history, with particular interest in the Holocaust and its legacies, modern Jewish identity, and Jews in South Africa. She holds a D. Phil in Modern History from the University of Oxford and was a Postdoctoral Fellow in the Society of Fellows at the University of Michigan. Before coming to UCL, she was Karten Professor of Modern History and Director of the Parkes Institute for Jewish/ non-Jewish Relations at the University of Southampton.
Patrick Bade is an art historian, writer and occasional broadcaster. He studied at University College London and the Courtauld Institute of Art and was senior lecturer at Christie's Education in London for many years.
Paul Beek was born in Amsterdam and volunteers at the National Museum Oranjehotel in Scheveningen and the Mr. Visserhuis in The Hague. Now retired, Paul has written several books about the extended Beek family and the tragic effects of the Holocaust. His first book tells the story of his niece Edith Roseij Beek, a 9 year old girl who was gassed at Auschwitz. A second book, which has chapter on Johnny & Jones, is about a cousin, Leon Beek whose wife Cissy van Marxveldt wrote books referenced in Anne Frank's diary.
David Bloch, founder-director of the Terezín Music Memorial Project, promoted Terezín and related music for nearly 22 years, through concerts with members of The Group for New Music in Europe, North America, England, Russia, Uzbekistan and in Israel, often inviting European artists for concerts and recordings. He was producer and artistic director of the Terezín Music Anthology CD series and did research and gave lectures (in Israel, Europe, North America, India and Australia), wrote articles and was Series Editor for Boosey & Hawkes/Bote & Bock, preparing an edition of Terezín works for first-time publication. He has been music consultant adviser for a number of documentary films, include A Terezín Diary (Visible Pictures, 1989); The Music of Terezín (BBC Television, 1993); Goethe and Ghetto (Swedish Television Documentary on Viktor Ullmann. 1995); Prisoner in Paradise (Alliance Atlantis, Documentary on Kurt Gerron. 2002); and the text for Forbidden Music: Composers and the Third Reich (An In-Context Presentation/Video Program Note, New World Symphony, Miami Beach, Florida, 2004). Prof Bloch taught for nine years at Portland State University, Oregon, and for thirty-three years at Tel Aviv University in the Department of Musicology, including serving as chairman for four years. He often gave seminars on Terezín music for teachers under the auspices of Yad Vashem and as music advisor. David Bloch died in August 2010.
Alexander (Sender) Botwinik, son of Holocaust survivors, grew up in Montreal, where he studied music and education at McGill University. Alex has been teaching music and choir to children since 1987 – for seven years in Montreal and then in the Philadelphia area, currently at Har Zion Temple. Alex coordinates the annual choral youth Zimria sponsored by the United Synagogue of Conservative Judaism, is the director of an independent Jewish community choir, and is a Yiddish instructor at the University of Pennsylvania. Alex worked for 16 years to produce From Holocaust to Life: New Yiddish Songs (Fun khurbn tsum lebn: Naye yidishe lider) published in 2010 by the League for Yiddish, New York. This book comprises 56 of his father David Botwinik's musical compositions, compiled and engraved by Alex. For the last several years, Alex has been busy promoting and performing in concerts featuring his father's music. http://botwinikmusic.com
Dr Juliane Brauer is a research scientist at the Max Planck Institute for Human Development, Center for History of Emotion. She teaches courses on music in concentration camps at the Berlin University of the Arts and on Holocaust Education at the Berlin Free University. She studied Modern History and Musicology at the Humboldt University and University of Bielefeld. In 2007 she completed her PhD in History at the Free University of Berlin about Music in Concentration Camp Sachsenhausen (Metropol Verlag, Berlin 2009). Besides the area of music and emotions her research interests include music and torture in the 20th century.
Simon Broughton is a writer and documentary film maker based in London. He is currently editor in chief of the world music magazine Songlines and programmes Songlines Encounters Festival. He worked many years for the BBC and then freelance for the BBC and other companies. Several of his films have involved music in extreme political circumstances - Breaking the Silence: Music in Afghanistan (BBC 2002), about the return of music after the fall of the Taliban (BBC 2002), Sufi Soul: The Mystic Music of Islam (C4 2006) and The Music of Terezín (BBC 1993), about the Jewish ghetto during WWII.
Manuel Cini is a concert pianist and Ph.D. researcher. After graduating magna cum laude from the ‘Conservatorio di Musica Luisa D’Annunzio’ in Pescara (Italy) under the guidance of Professor Filomena Montopoli, he attended the two-year Advanced Level Course at the ‘Scuola di Musica di Fiesole’ (Florence) with M° Andrea Lucchesini. In 2019, he moved to London, where he completed with distinction the Master of Music in Performance at the Royal College of Music. Throughout the years, Manuel has performed across Europe, Asia, and America both as a soloist and with orchestras. He has recently recorded the Études d'exécution transcendante by Franz Liszt for the Odradek Records. Currently, he is attending the Ph.D. in Music at the University of Surrey under the supervision of Professor Jeremy Barham with a project related to the uncovering of unknown and unedited music compositions written in the Nazi concentration camps during the Second World War. In 2021, Manuel has been appointed as Executive Board member of the Institute of Austrian and German Music Research (IAGMR). Since then, he has already been giving papers and lectures in Ireland and UK.
Lloica Czackis was born in Germany in 1973 to Argentinian parents and grew up in Venezuela. She studied singing and choral conducting in Buenos Aires and completed her training at the Guildhall School of Music & Drama in London under Vera Rosza and David Pollard, supported by a British Council scholarship. With a repertoire that extends from the Renaissance to the avant-garde, she has appeared in the main European festivals of contemporary music with the New London Chamber Choir, also as a soloist. She has given numerous recitals of vocal chamber music in Buenos Aires and Europe. Since 1999 Lloica has conceived and performed programmes on Latin American and European twentieth-century music, cabaret and tango. Her Millennium Award-winning show Tangele: The Pulse of Yiddish Tango, with musical arrangements by Maestro Gustavo Beytelmann, has continued to be featured in festivals across Europe, the USA and South America since its London première in 2002. In 2003 she created Terezín Karussell, with David Bloch on piano, a recital of tangos, art and cabaret songs by Terezín composers, first presented at the Brundibár Festival in Manchester, UK, and then repeated elsewhere in England, and in France and Argentina. In addition to her musical career, Lloica researches the Yiddish tango: in 2005 she completed a DEA (MPhil) of the École des Hautes Études en Sciences Sociales in Paris. Her research has been published in English and Spanish. www.lloicaczackis.com.
Dr Guido Jochen Fackler Studied Folklore, Musicology, and Ethnology at the University of Freiburg, Germany. Has awarded the Fraenkel Prize in Contemporary History in 1992 from the Institute of Contemporary History and the Wiener Library, London for his MA Thesis about Jazz in Terezín (1991). He is Co-Creator of the event series 'Music in Concentration Camps' (1991), which was awarded the 'Theo Pinkus Prize 1992'; Participant with the research project, 'Culture in Nazi Socialist Concentration Camps: Culture as a Survival Strategy' at the University of Regensburg; Ph.D received 1997 with 'Des Lagers Stimme' ¯ Musik im KZ ['The Voice of the Camp': Music in Concentration Camps] (Bremen, 2000). Since April 1999, Assistant Professor in European Ethnology (Volkskunde) at the University of Würzburg, Germany.
Daisy Fancourt studied Music at Christ Church, Oxford where she was an Academic and Joan Conway Performance Scholar, graduating with a First in 2011. She is now studying for her Masters in Musicology at King’s College, London. Her interests include analysis, film music, and French history, focusing especially on the works of Poulenc. She has worked on several research papers, including speaking at a conference in Paris in 2011 on the role of the tango in international relations, and has a forthcoming publication on Schumann in Nineteenth Century Music Review.
Sophie Fetthauer studied Musicology and German Literature at the University of Hamburg, and since 1996 has pusued research within the study group „Exilmusik“ through a number of publications (Das „Reichs-Brahmsfest“ 1933 in Hamburg. Rekonstruktion und Dokumentation, 1997; Lebenswege von Musikerinnen im „Dritten Reich“ und im Exil, 2000, Music). In 1998 she secured a research assignment from Deutsche Grammophon to publish the book Deutsche Grammphon. Geschichte eines Schallplattenunternehmens im „Dritten Reich“ (2000). From 2000-2002 she was awarded a doctoral scholarship by the Friedrich Ebert Stiftung, to work on her publication Musikverlage im „Dritten Reich“ und im Exil (2004). She was editorial assistant at the Hochschule für Musik and Theater Hamburg (Musik und Gender im Internet) and since 2005 has been editorial assistant at the Musikwissenschaftliches Institut der Universität Hamburg (Lexikon verfolgter Musiker und Musikerinnen der NZ-Zeit, http://www.lexm.uni-hamburg.de).
Gila Flam was born in Haifa, Israel, where she received her education and studied piano for 10 years. She received her BA and MA degrees in Musicology from the Hebrew University of Jerusalem. In 1988 she graduated from the ethnomusicology program,e at the University of California, Los Angeles, where she received her Ph.D. She is the author of several articles and books on Israeli popular music and Yiddish song, including Singing for Survival: Songs of the Lodz Ghetto 1940-1945 (University of Illinois Press, 1992). Her second book (in collaboration with Dov Noy), Hobn Mir a Nigndl, about the songs of the Yiddish 'Troubadour' Nokhem Shternheim, was published by the Jewish Music Research Center, Jerusalem in 2000. Dr Flam established and directed the music department at the United States Holocaust Memorial Museum in Washington D.C. (1989-1992). Since 1994, she has been Director of the Music Department and the National Sound Archives of the National Library of Israel, where she has enriched the collection and preserved it through digitisation (see http://web.nli.org.il/en/music/Pages/default.aspx). Dr Flam lectures in many conferences around the world and teaches classes on Yiddish song and music of the Holocaust at Tel Aviv University, the Hebrew University of Jerusalem, Bar-Ilan University, Levinsky’s Teachers College and the Jerusalem Academy for Music and Dance. Gila Flam also performs the songs she researches and studies and conducts fieldwork among Yiddish-speaking informants, and consults film-makers, singers and researchers around the world.
Tina Frühauf is Adjunct Assistant Professor of Music at Columbia University and Editor at Répertoire International de Littérature Musicale in New York. Her scholarly work explores Jewish music in Western Diaspora and, most recently, dance. Her German and English publications include articles in Musica Judaica, Music and Art, and Orgel International, numerous book chapters and encyclopaedia contributions on the German-Jewish music culture, organs and organ music, the piano and the violin. She is the author of The Organ and Its Music in German-Jewish Culture (New York: Oxford University Press, 2009). Website: http://www.tinafruehauf.com
Jutta Raab Hansen studied musicology at Berlin Humboldt University, gaining her diploma in 1976. She researched at the Friedrich-Naumann-Foundation between 1991-1994, then went on to gain her doctorate at the Institute of Musicology, Hamburg University, on the subject 'NS-persecuted musicians in England: traces of German and Austrian musicians in British musical life'; it was published by von Bockel Verlag Hamburg in 1996. She then worked as editor and music critic in Berlin and Hamburg. Since 2003, Jutta has been living and working freelance in London, UK, with an interim stay in Australia (2007-2008), writing essays and lectures linked to exiled musicians.
Dr. Lily E. Hirsch is Visiting Assistant Professor of Music at Cleveland State University. She attended the Conservatory of Music at the University of Pacific in Stockton, California, where she earned a Bachelor of Music magna cum laude with a major in music history in 2001. At Duke University, she received her Master’s degree in 2003 and her Ph.D. in musicology at the end of 2006. She has published articles in Philomusica, the Journal of Popular Music Studies, and has a forthcoming article in Musical Quarterly. She has also presented at the national conferences of both the American Musicological Society and the Society for Ethnomusicology, and received research support from the German Historical Institute, the German Academic Exchange Program (DAAD), and the Leo Baeck Institute. She is currently working on a book on the Jüdischer Kulturbund (Jewish Culture League) with the University of Michigan Press.
Baritone Ryan Hugh Ross holds degrees from Southwest Minnesota State University, California State University-Long Beach, and Wales International Academy of Voice where he studied with world renowned tenor Dennis O’Neill CBE. He is in demand on the operatic stage and in concert performances.
Ryan's interest in history, combined with his passion for new music, led to the launching of a 5 part concert/lecture series entitled “Rediscovered Beauty: Suppressed Composers”, dedicated to the generation of musicians, artists, and composers who were suppressed and silenced by the 3rd Reich. Other work in this field includes the US premiere of Two Songs for Baritone and Orchestra by suppressed Viennese composer Julius Bürger (whose works he champions) in Minnesota as part of the Voices of Exile Festival at Southwest Minnesota State University in 2016. Ryan was guest performer in May 2017 for the inauguration of the Exil.Arte Centre for Suppressed Composers in Vienna, Austria where he performed Bürger’s Goodbye Vienna.
In partnership with the Nimbus Foundation, International Music Sessions of NYC, and Mr. Ronald Pohl, Esq., Ryan will be creating the first ever recordings of Mr. Bürger’s lieder for commercial release. The album, titled The Lieder of Julius Bürger- A Journey in Exile, is set for release in 2019. For more information visit www.RyanHughRoss.com or www.Facebook.com/RyanHughRoss-Baritone
Hungarian-born Agnes Kory is the founder and director of the Béla Bartók Centre for Musicianship (BBCM, www.bbcm.co.uk), London, which offers specialised music studies and fosters scholarship. She is a teacher, performer, and researcher in historical musicology and holds degrees from the Béla Bartók Conservatoire Budapest, Royal Academy of Music London, and the University of London. In May 2006 she was awarded the Béla Bartók Memorial Prize and in February 2007 she received the Pro Cultura Hungarica award. Prior to her BBCM work, she was principal cellist with the Royal Ballet, Royal Opera House (1970-72) and cellist with the English National Opera (1974-87). She has also given numerous solo and chamber music recitals, conducted choral and instrumental concerts, and led study trips to Budapest, Bayreuth and St. Petersburg.
Dov Levin (1925 — 2016), a member of the Kovno ghetto underground and later a partisan fighter in the forests of Lithuania, was the author of Fighting Back: Lithuanian Jewry's Armed Resistance to the Nazis, 1941-1945 (Holmes & Meier, New York, 1985). Professor Levin was Director of the Oral History Division of the Institute of Contemporary Jewry, The Hebrew University, Jerusalem.
Tim Locke is based in Lewes, in Great Britain. He grew up in south London, and studied at Cambridge University from 1977 to 1981, and since 1985 has worked as a freelance writer and editor, specialising in travel books, particularly on Britain but also on parts of Europe and the USA. He has also written children's history books on life in Britain during Roman and Victorian times, and has recently written a guidebook on Slow tourism in Sussex and the South Downs National Park. His mother Ruth Locke (nee Neumeyer) came to England on the Kindertransport in 1938 at the age of 15, and still lives in the house where he was born in 1958. A grandson of the composer and holocaust victim Hans Neumeyer, he is also a keen amateur musician - an accompanist and participant in pro-am opera productions. Tim Locke's blog: http://ephraimneumeyer.wordpress.com/
Abaigh McKee is a PhD candidate at the University of Southampton, studying with Dr Shirli Gilbert and funded by a studentship. She is researching ballet music in Paris during the Nazi Occupation. Before beginning her PhD, Abaigh studied music at the University of Sheffield where she received a BMus (2013) and MMus (2015), researching ballet music in Paris and London during the first half of the twentieth century.
Barbara Milewski is a nineteenth- and twentieth-century Polish music scholar whose research addresses questions of nationalism, memory and identity. Recent scholarly writings and translations have brought international attention to songs and poetry from the Nazi concentration camps, contemporary Polish theatre, and post-war Polish cinema. She is Professor of Music at Swarthmore College.
Élise Petit, Head of Musicology Department in Grenoble (France), is Associate Professor in History of Modern and Contemporary Music. She has a PhD in Musicology and holds an Agrégation de musique, and diplomas in Performing Arts. She is a specialist of musical policies in 20th century Germany. She is the author of “Entartete Musik”. Musiques interdites sous le IIIe Reich (Paris: Bleu Nuit, 2015); Musique et politique en Allemagne, du IIIe Reich à l’aube de la guerre froide (Paris: Presses de l’université Paris Sorbonne). She is also the editor of the book La Création artistique en Allemagne occupée. Enjeux esthétiques et politiques (Sampzon: Delatour, 2015). Her last publication, Des usages destructeurs de la musique dans le système concentrationnaire nazi (CRIF, 2019) focuses on destructive uses of music in Nazi camps. As a researcher working on music during the Holocaust, Élise Petit was J.B. and Maurice C. Shapiro Fellow at the Jack, Joseph and Morton Mandel Center for Advanced Holocaust Studies, United States Holocaust Memorial Museum, Washington D.C 2017-2018.
Rebecca Rovit is an Assistant Professor in the Theatre department of the University of Kansas where she teaches Script Analysis, Theatre History, Modern German Drama, and special topics related to historiography and Theatre and Genocide. Her co-edited (with Alvin Goldfarb), Theatrical Performance during the Holocaust: Texts, Documents, Memoirs (1999) was a finalist for the National Jewish Book Award. She has authored numerous publications on German theatre and the role of the performing arts under duress, which have appeared in American Theatre, PAJ, TDR, Theatre Survey, Contemporary Theatre Review, and The Journal of Holocaust and Genocide Studies. Her micro-history on the Jewish Kulturbund theatre and its repertoire in Nazi Germany (1933-1941) is forthcoming in 2012 with Iowa University Press (Studies in Theatre History and Culture, ed. Thomas E. Postlewait). Faculty webpage: http://theatre.ku.edu/people/rovit_rebecca.shtml.
Harvey Sachs is the author of Music in Fascist Italy (London: Weidenfeld & Nicolson 1987; New York: W. W. Norton 1988; and in an updated Italian edition, Milan: Il Saggiatore 1995). His many books include biographies of Arturo Toscanini and Arthur Rubinstein. He is currently on the faculty of the Curtis Institute of Music in Philadelphia and is the New York Philharmonic’s Leonard Bernstein Scholar-in-Residence. http://www.harveysachs.com/ Photo: Alexander Lewis, New York.
Geoffrey Shisler has been Rabbi of the New West End Synagogue, London, since 2000. He trained at Jews' College, London and commenced his career as a Cantor serving various congregations in that capacity. Rabbi Shisler has taught Cantorial singing at Jews' College for eleven years and recently published 'Shiru Lo Shir Chadash' - 'Sing to Him a New Song' a book of original compositions for use in the Synagogue, home and school. Website: www.geoffreyshisler.com
Dr. Suzanne Snizek is Associate Professor of Music, from 2017, at the University of Victoria (BC, Canada), where she has taught flute, chamber music and topics in twentieth- century musicology since 2011. She received a Bmus from IU-Bloomington, an MMus with Julius Baker (at UArts- Philadelphia), and her DMA at UBC-Vancouver, where she worked with Lorna McGhee. Her innovative DMA thesis explored the musical culture within World War II British internment. Her work is published in Cultural Heritage and Prisoners of War: Creativity Behind Barbed Wire (Routledge 2012), The Impact of Nazism on the Development of Twentieth Century Music (Böhlau Verlag 2014) and Captivité de guerre au XXe siècle: des archives, des histoires, des mémoires (Armand Colin 2012). As a flautist Dr. Snizek has performed throughout the world, including Cambridge University (UK), l’École Militaire, the Chutzpah! International Arts Festival (Vancouver, BC), Chiang Kai Shek Memorial Hall (Taipei), Kennedy Center (US) and Verizon Hall (Philadelphia). A prize winning performer, Snizek won first prize in the Mid-South Flute Competition (USA) and the UArts Concerto Competition, second prize in the New York Flute Club Competition and was also a prize winner in the Flute Talk magazine (USA) competition.
Tony Stoller is a doctoral student in the Media School at Bournemouth University, studying the history of classical music radio in the UK between 1945 and 1995. He is Chair of the Joseph Rowntree Foundation and the Joseph Rowntree Housing Trust, a member of the Competition Commission and the editor of the Friends Quarterly. He was previously Chief Executive of the Radio Authority, the commercial radio regulator, and his book, Sounds of Your Life, provides the only completehttp://music2019relaunch.holocaustmusic.ort.org/ history of Independent Radio in the UK (John Libbey Publishing, 2010).
Joseph Toltz is a music researcher at the University of Sydney. He was recently co-Investigator for “Performing the Jewish Archive”, a four-year British Arts & Humanities Council project based at the University of Leeds. As part of this project, he directed the 2017 festival “Out of the Shadows: rediscovering Jewish music and theatre” at the Sydney Conservatorium of Music, the fourth of five performance festivals sponsored by Performing the Jewish Archive. A former fellow at the United States Holocaust Memorial Museum, he is co-authoring a book with Dr Anna Boucher on the first collection of Holocaust songs; co-writing a stage work with Guta Goldstein about her musical experience and memories as a child survivor of the Łódź Ghetto; working with the University of Music and the Performing Arts in Vienna on the Austrian-Jewish refugee composer, Wilhelm Grosz; and working with the University of Akron, Ohio, on musical recordings made by Dr David Boder in Displaced Persons camps in Europe, in mid-1946.
Aleeza Wadler is the Founder and Artistic Director of the Motyl Chamber Ensemble. At the age of sixteen, she gave her debut with the Brooklyn Philharmonic performing the Mendelssohn Violin Concerto in E Minor. She is an active chamber musician and has participated in music festivals around the world including the Aspen Music Festival, Tanglewood, Kent Blossom and the New York String Orchestra Seminar. Dr Wadler has performed with the North Carolina Symphony Orchestra, ALEA III in Boston and the International Symphony Orchetsra in Israel. She holds a Bachelor degree from the Indiana University School of Music and a Master of Music degree from the Manhattan School of Music where she studied with Sylvia Rosenberg. Dr Wadler completed her thesis, "Strings in the Shadows: A Portrait of Three Violinists in the Terezin Concentration Camp" as part of receiving a Doctorate in Musical Arts from Boston University. Dr Wadler has presented papers at the College Music Society's National Conference, regional chapter meetings and international conferences focused on Music and the Holocaust.
Alice Autumn Weinreb was born and raised in Berkeley, California, and obtained her BA in Women's History from Columbia University in 1999. She then moved to Berlin, where she earned a MA in Cultural Studies and Gender Studies at the Humboldt University. In 2009 she received her PhD from the University of Michigan with a dissertation on the politics of food and hunger in postwar Germany. Currently, she is a Visiting Assistant Professor in German History at Northwestern University in Chicago. http://www.history.northwestern.edu/people/weinreb.html
Bret Werb is a long serving music specialist and recorded sound curator at the US Holocaust Memorial Museum, Bret Werb has contributed to scholarly books and periodicals, produced recordings of ghetto, camp, and resistance songs, and collaborated on numerous theatre, film, and concert projects. He holds a PhD in ethnomusicology from UCLA.
Dr Ben Winters is Lecturer in Music at The Open University. He completed his doctorate at the University of Oxford in 2006, and has held research posts at City University, London, and the Institute of Musical Research, University of London. He is the author of Erich Wolfgang Korngold’s The Adventures of Robin Hood: A Film Score Guide (Scarecrow Press, 2007), and has published on film music and Korngold in journals such as Music & Letters, Journal of the Royal Musical Association, Interdisciplinary Humanities, and Music, Sound, and the Moving Image. He recently completed an article on Korngold’s Hollywood exile to be published in the forthcoming first issue of the ExileArte Yearbook, edited by Erik Levi. Department webpage: http://www.open.ac.uk/Arts/music/bwinters.shtml
Kevin Withell is a conductor and brass teacher based in the south of England. He read music at University of Southampton, where he studied orchestral conducting as well as composition and orchestration, completing a dissertation in Holocaust Music before remaining to complete a Masters in conducting. Kevin now works as a conductor with various ensembles in Southampton Music Hub and Southampton University, as well as being in regular demand as a conductor, trombonist, hornist and percussionist with ensembles across the south coast and London. As a composer, Kevin has written his own settings of Requiem Mass (2011), Gloria Mass (2013) and O Come Emmanuel (2021) as well producing numerous compositions and arrangements for the ensembles he directs. Kevin became fascinated with Music and the Holocaust during his first year at university, writing several essays on displaced composers and a dissertation on Music in Terezin. Since then, he has continued to dedicate his spare time to compiling research on European musicians, particularly of Jewish heritage, affected by Nazism and the Holocaust.
Amy Wlodarski is associate professor of music at Dickinson College (Carlisle, PA) and holds degrees in musicology from the Eastman School of Music. Her work on postwar Holocaust representation has appeared in forums such as the Journal for the American Musicological Society, the Journal of Musicology, and EIsler-Studien. She is co-editor, with Elaine Kelly, of Art Outside the Lines: New Perspectives on GDR Art Culture (Rodopi, 2011). Faculty website: http://www.dickinson.edu/academics/programs/music/Faculty/
Abigail Wood is Joe Loss Lecturer in Jewish Music at SOAS, University of London. She completed her PhD on "Yiddish song in contemporary north America" in 2004 at Cambridge University, and taught ethnomusicology for three years at Southampton University before taking up her present post. Her current research focuses on contemporary Yiddish song and klezmer music, and music in immigrant communities in Israel. She regularly gives visiting lectures on klezmer and other aspects of Jewish music, and is on the faculty of Klezfest, the Jewish Music Institute's summer Yiddish music programme in London.