The Nazis’ change of heart regarding entertainment had less
to do with any kindness and more to do with the hope that
prisoners would be diverted from thoughts of rebellion. They
also pocketed the possibility of exploiting this freely allowed
cultural activity as a propaganda tool sometime in the future.
While the SS still had the power to censor the prisoners’
artistic decisions, the Free Time Administration was primarily
left to their own devices. Being officially employed by the
Administration as a performer, composer, or lecturer had major
benefits for a prisoner, especially the freedom from being
employed in various labor details. In fact, many artists and
musicians were able to devote more time to their passions
than they ever had in their free lives. It was most certainly
a bittersweet and ironic situation, handled differently by
each individual involved.
 A listing of Freizeitgestaltung department heads
Some musicians, especially the
younger ones, leapt upon the opportunity to practice for hours and design
challenging performance programs. The environment was also conducive to
creating groups of the highest caliber. Simply imagine for a moment the
extraordinary scenario Terezin provided in terms of musical output. When else
in history have top-ranking composers, violinist, pianists, and singers, among
countless other musicians of various talents, been trapped together as practicing
artists for extended periods of time? The possibilities for collaboration,
education, and performance were astounding. A top composer could create a
remarkable choral work to be performed by singers of the highest caliber led by
an eminent conductor! Yet this “musical fantasyland” depiction is comparable
only in simplest theory, with blatant disregard for what Terezin truly was.
In truth, all of these possibilities and potentials were harshly
countered by the wretched conditions and depressive effects
of being abducted and persecuted. The context surrounding
the musicians’ unique position was a dangerous threat to any
human’s artistic motivations. It is indeed a miracle and a
testament to human spirit that through the hunger, filth,
overcrowding, and disease, these musicians persevered to create
and present works of great beauty. Rather than giving in to
hopelessness, malaise and pessimism, they transformed the
cruelties of their oppression into sources of energy, inspiration,
and distraction. To the benefit of themselves and their grateful
audiences, the music of Terezin was a crucial element to spiritual
survival. As eloquently interpreted by Terezin historian Joza
Karas: where there was not food for the body, there was food
for the soul.
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