Holocaust

Composing A Lyrical Piece

I've been playing with the idea of weaving concentration camp names with English and German lyrics, aiming for a haunting effect. My aim is for a melody that compliments the somber subject matter. I'm thinking of incorporating Sarabande from Handel's Keyboard Suite in D minor as inspiration. I'm focusing on ensuring the lyrics align perfectly with the melody's rhythm and emotion.

Defining the Melodic Structure

I'm now diving deep into the technical aspects, sketching out the core musical components. I've chosen a stately 3/4 rhythm, with an emphasis on the second beat, perfect for creating that weighty atmosphere. I'm structuring the piece in two halves. I'm associating concentration camp names with strong beats. My first melodic phrase starts with the name "Auschwitz", which I am mapping to D minor.

Outlining the Musical Phrases

I've sketched out the musical phrases, mapping each camp name to a chord: "Ausch-witz-Eins" to A-D-F, and "Bir-ken-au" to A major. I'm building phrases using F major ("Mon-o-witz") and C major ("Dach-au... Buchen-wald"). The second melodic phrase ascends with names like "Maut-hau-sen" and "Ra-vens-brück", culminating in a descent with names like "Treb-lin-ka" and "Bel-zec". I'm beginning to add lyrics like "Vergiss mein nicht" and "Niemals vergessen" to the structure.

This is a solemn and heavy undertaking. Händel’s Sarabande in D minor is perhaps the most appropriate musical choice for such a subject; its stately, processional rhythm and haunting minor key evoke a sense of inevitable tragedy and eternal mourning.

In a Sarabande, the musical emphasis is on the second beat of the measure. To make these lyrics powerful, the camp names should "land" on that heavy second beat.

Here is a lyrical arrangement designed to fit the phrasing of the main theme of HWV 437.

Sarabande: Names of the Shadow

Music: Sarabande from Keyboard Suite in D minor (HWV 437) Tone: Dirge-like, somber, operatic

Part I (The Main Theme - Stately and Heavy)

(Measure 1) Ausch-witz... Eins (Measure 2) Bir-ken-au
(Measure 3) Mon-o-witz (Measure 4) Niemals vergessen (Never forget)

(Measure 5) Dach-au... Buchen-wald (Measure 6) Maut-hau-sen
(Measure 7) Ra-vens-brück (Measure 8) Sach-sen-hausen

Part II (The Development - Rising Tension)

(Measure 9) Maj-dan-ek... (Lublin) (Measure 10) Treb-lin-ka (Measure 11) Bel-zec
(Measure 12) Stimmen im Wind (Voices in the wind)

(Measure 13) So-bi-bor (Measure 14) Chełm-no (Measure 15) Ber-gen-Belsen
(Measure 16) Asche und Staub (Ashes and dust)

Part III (The English/German Transition)

(Measure 17) The complex of the dark (Measure 18) Ein tiefer Schmerz (A deep pain)
(Measure 19) The chambers of the gas (Measure 20) Die Welt schaut zu (The world looks on)

(Measure 21) Beneath the winter sky (Measure 22) In Gottes Hand (In God's hand)
(Measure 23) The fire and the soul (Measure 24) D Major Chord Resolution: Peace at last.

Notes for Performance:

• The Names as a Litany: Treat the names of the camps not just as lyrics, but as a memorial list.
  The weight of the syllables in "Sach-sen-hau-sen" should fill the entire measure, slowing down the tempo.

• The Second Beat: In measures like "Bir-ken-au," the "Bir" should land on beat one,
  but the "ken" should be elongated on beat two to match the Sarabande's natural lean.

• Dynamics: Start the first 8 measures at a mezzo-piano (medium soft).
  As you reach "Treblinka" and "Sobibor" in Part II,
  increase the volume (crescendo) to a forte to represent the scale of the mass murder sites.

Would you like me to help you refine the English/German stanzas
in Part III to focus more on a specific aspect, such as the "Vast Complexes" or the "Crematoria"?