Vlasta Reittererova lives in Prague and works as the music librarian of Charles University, as well as a published researcher on the topic of Viktor Ullmann and the music of Terezin.

1.      How and when did you start studying the music of Terezin? Do you remember well the days when Holocaust music was not spoken of publicly? What was that like? Did you know much about it yourself?

I started my research of the music of Terezin around 1987-88, when I took my new job at the University. But the name of Viktor Ullmann I knew already from my studies between 1965 and 1972. Our professor, Ivan Vojtech, had informed us about the Jewish-German and German Composers in Bohemia. But the possibility to learn more of the generation’s history was too short-term (in 1968 the Soviets enforced even more stringent limitations on the study of such topics). I worked as music manager, but the music of Terezin and the Holocaust was of no interest to performers (not because many of these composers were Jews, but because they were German) and it also was not known where and what had been preserved from the camp.

I got the job of librarian in the Institute of Musicology in 1987. Many people came with questions about Viktor Ullmann, Hans Krasa etc. In our library we have the compositions of Ullmann (the ones written 1926-1942). I gave out the information. In 1991 at a Colloquium in Dresden I received an offer to publish the diary of Ullmann, Der fremde Passagier (The Strange Passenger). It was published 1992, the second edition 1995. It was my start.

2.      How did Holocaust music come into public interest after 1989? Was it gradual?

The musicians became interested in the new repertory: the new political situation had opened the frontier, and it was possible to have contacts abroad. It was spontaneous, it was connected with the new political situation. But with the curiosity there were feelings of guilt, too (the first ensembles with the repertory of Terezin compositions, the first exhibitions, the first festivals had originated in Germany!!!).

3. What were audience reactions to concerts you attended, like a performance of Der Kaiser von Atlantis?

The people met the great work - face to face. The subject is powerful, but of primary focus is this: Ullmann was a great artist. I’ve seen and heard the bad Holocaust compositions, too. The idea (of Holocaust music) is not sufficient. Ullmann’s work can and will live, not only as a work of a Holocaust composer, but because he was the great artist.

~Transcribed with minor edits by the author for clarity.