Posts Tagged ‘Bayerischer Rundfunk’

Jansons Turns 75

Friday, January 12th, 2018

Mariss Jansons and Martin Angerer in rehearsal in Munich’s Gasteig in January 2018

By ANDREW POWELL
Published: January 12, 2018

MUNICH — Against the medical odds, perhaps, Mariss Jansons turns seventy-five on Sunday, still adored by his favorite orchestra. Bavarian Broadcasting marks the occasion with a 44-minute video portrait, Im Zeichen der Musik, or In the Music’s Character, freely watchable. Last evening here at the Gasteig, a subscription concert of the Symphonie-Orchester des Bayerischen Rundfunks paraded contrasting sides of the musicians’ long union with Jansons, and everyone’s versatility. Martin Angerer navigated the elegant byways and tricky trills of Hummel’s Concerto a trombe principale (1803) with apparent ease in its original key of E, tidily accompanied. In an interview, the section principal distinguished this “godly” tonality from the “mundane” feel of E-flat, taken often in a convenience edition of the Hummel he deems a “stab in the heart,” but he stopped short of chancing the performance with the kind of Klappen-Trompete used originally, preferring the luxuries of a modern American piston instrument. (Soloist and conductor are pictured midweek.) Genia Kühmeier, Gerhild Romberger, Maximilian Schmitt and Luca Pisaroni made an impeccable quartet for the program’s main work, after the break, Beethoven’s C-Major Mass (1807), although the bass for some reason sang half-voice. The BR Chor glowingly intoned its lines yet struggled to focus the words in the acoustically poor venue. Jansons led supportively but as always from the ground up, never from the bowels of the Earth, and showing no inquirer’s zeal for the imaginative score. His clinical manner and the Bavarian players’ skill found their most persuasive outlet in an episodic exercise in chromatic unrest at the top of the evening: the Symphony in Three Movements (1945) of Stravinsky. Here, structure reigned, details sparkled, and the con moto third movement sounded (suitably) die-cast. It was in 2003 that this celebrated partnership began, since when the demanding and fussy but personable Latvian maestro’s contract has been renewed with accelerating commitment: for three years in 2013, and for three more years less than two years later — right after he sounded receptive to a theoretical, but as it turned out imagined, offer in Berlin. Which takes us up to 2021, past several happy birthday returns.

Photo © Bayerischer Rundfunk

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Magelone-Romanzen on Disc

Monday, October 16th, 2017

Brahms, Tieck, Gerhaher, Huber and Walser

By ANDREW POWELL
Published: October 16, 2017

MUNICH — Sony has released a remarkable recording of Brahms’s Magelone-Romanzen, Op. 33, complete with Zwischentexte prepared by German author Martin Walser. Christian Gerhaher sings the fifteen songs and recites two of the other three poems (the 1st, 16th and 17th) from Ludwig Tieck’s 1797 narrative not set to music. Walser, 87 at the time of the recording, reads his own choice of eloquent, plain words, condensing Tieck’s eighteen-section prose while still advancing the tale and earmarking each song, as Brahms would have expected. Between the two of them, the German language has never sounded more beautiful. Gerold Huber accompanies. Sessions stretched over five days, at Bayerischer Rundfunk here, an indication of the care taken. This 93-minute, 2-CD release, with booklet essay and Romanze texts in German only, has EAN 088985 3110223 and ASIN B01NA7L2AN and must be distinguished from the widely reviewed single-disc issue omitting Walser’s work. Essential listening.

Images © StadtMuseum Bonn, 1865 wood engraving after a drawing (Brahms); 1838 oil on canvas by Joseph Karl Stieler (Tieck); Gregor Hohenberg (Gerhaher); Marion Koell (Huber); Philippe Matsas (Walser)

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Bayreuth Parsifal Due Online

Sunday, July 17th, 2016

Festspielhaus in Bayreuth

By ANDREW POWELL
Published: July 17, 2016

MUNICH — Bayerischer Rundfunk confirmed on Thursday it will video-stream the premiere of Uwe Eric Laufenberg’s new staging of Parsifal at the Bayreuth Festival.

— when: 9:57 a.m. EDT on July 25, 2016
— where: www.br-klassik.de/concert

Laufenberg is reportedly intent on exploring the religious aspect of Wagner’s 1881 Bühnen-Weih-Festspiel, not without reference to Islam.

Watching at home may have advantages. Attendees on Bayreuth’s Grüner Hügel face new security procedures for this festival opener, and indeed all 2016 dates, obliging earlier arrival than in past years. The German chancellor won’t be among them.

Saxon conductor Hartmut Haenchen, taking over from a less practiced colleague, makes his Bayreuth debut with this opera, which he led in a filmed Brussels run five years ago directed by Romeo Castellucci.

Elena Pankratova sings Kundry, Klaus Florian Vogt the naive hero; Ryan McKinny, Georg Zeppenfeld and Gerd Grochowski impersonate Amfortas, Gurnemanz and Klingsor.

Coming from a dedicated broadcaster, the Internet data for listening and viewing should be both stable and detailed.

Photo © Deutsche Presse-Agentur

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St John Passion Streams

Friday, May 27th, 2016

BR Chor’s St John Passion filmed in Nuremberg in June 2015

By ANDREW POWELL
Published: May 27, 2016

NUREMBERG — Tired of paying for digitized concert-hall privileges? Here is a sumptuously sung, gloriously gratis (for the moment*) St John Passion from this city’s Lutheran Lorenzkirche, filmed in June 2015 as part of a drawn-out Bavarian Broadcasting project to mark “500 Years of the Reformation”:

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Maximilian Schmitt is the Evangelist. Tareq Nazmi sings Jesus. Christina Landshamer, Anke Vondung, Tilman Lichdi and Krešimir Stražanac make up the SATB quartet for the arias. The BR Chor and Concerto Köln are conducted by Peter Dijkstra.

The corresponding Munich performances of Bach’s favorite work, from three months earlier, have merged their way onto an excellent BR Klassik CD set, but with Julian Prégardien as the Evangelist and Ulrike Malotta singing the alto arias.

[*As of May 17, 2017, this remained the case, although in early 2017 the video was issued as a BR Klassik DVD set that went on to win the Preis der deutschen Schallplattenkritik.]

Still image from video © Bayerischer Rundfunk

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BR’s Full-Bodied Vin Herbé

Friday, March 18th, 2016

Prinzregententheater in Munich

By ANDREW POWELL
Published: March 18, 2016

MUNICH — It would be a novelty to hear Le vin herbé the way composer Frank Martin conceived it. The 1940 secular chamber oratorio reportedly soars when realized in concert by twelve French-singing voices, double string trio, double bass and piano — its lean forces yet complex harmony producing intriguing shafts of color; its drama predicated on shuffling the voices, used one-to-a-part and as a chorus. But a listener could wait decades for the chance. When Martin’s 100-minute Tristan et Iseut saga shows up at all, it has either morphed into an opera (Katie Mitchell’s realist concept for Berlin as example) or, more often, been puffed up for standard choral forces. This was its fate in a Bayerischer Rundfunk outing Jan. 23 here at the Prinz-Regenten-Theater, a missed opportunity given the broadcaster’s resources and artistic umbrella.

BR Chor artistic leader Peter Dijkstra kept Martin’s instrumentation but fielded 38 singers, blocking entry to the planned sound world and permitting only sporadic drama. Martin’s varied commentaries took on a sameness, so that for instance no urgency accompanied the waking of Gorvenal and the “last night-flight through the beloved woods.” Still, tenor Marcel Reijans’ keen and heroic Tristan injected vitality, and with good French. In support: soprano Johanna Winkel’s sensitive Iseut, soprano Barbara Fleckenstein’s clearly worried Branghien, and the unruffled, oaky Marc of baritone Andreas Burkhart. Refined choral contributions only emphasized what was amiss texturally, despite peppy punctuation from members of the Symphonie-Orchester des Bayerischen Rundfunks, and Dijkstra’s conducting brought out the intriguing harmonies at reverential speeds.

This project should have benefitted from the intervention of Mariss Jansons in his supposed joint capacity as chief conductor of the BR Chor and the BRSO, to ensure forces were cast in line with Martin’s wishes and to properly serve the broadcaster’s listeners. The charismatic Dutchman, meanwhile, is closing out his 11-year BR Chor tenure. He has not been the most imaginative musician in Romantic and Modern works, but Bach he conducts naturally and lyrically. His St Matthew Passion three years ago deserved its plaudits, and his St John Passion, with the mellifluous Kuwaiti bass Tareq Nazmi as Jesus, has just appeared in a neatly documented BR Klassik CD set. Dijkstra’s farewell actually comes soon, with the B-Minor Mass here and in Baden-Baden, Nuremberg and Ingolstadt. Replacing him in September will be British conductor Howard Arman, while Jansons remains chief conductor, for what that is worth. As for Le vin herbé, Victor Desarzens’ 1961 recording with Eric Tappy as Tristan and Frank Martin at the piano (on the Westminster label) provides an authentic path through the score.

Photo (modified) © Martina Bogdahn for BR

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BRSO Adopts Speedier Website

Friday, April 17th, 2015

New website for the Bavarian Radio Symphony Orchestra

By ANDREW POWELL
Published: April 17, 2015

MUNICH — Although no news release hailed its arrival, a revamped website was launched today for the Bavarian Radio Symphony Orchestra. It is faster, navigationally flatter, and better geared to mobile platforms than the old pages, criticized here. To enable the advance, domains have been set up liberating the orchestra from the giant br.de, which until today hosted all three BR Klassik entities — the BRSO, the BR Chor and the Münchner Rundfunk-Orchester — as well as a panoply of services of parent Bavarian Broadcasting. In the bureaucratic context, this is revolutionary. Domain br-so.de will serve German readers while br-so.com is for everyone else. Simple tasks, such as finding the orchestra’s managers, are now as easy as they should be. Corresponding domains br-chor.de and br-chor.com have been established for the excellent chorus but for the moment resolve elsewhere. The MRO, currently on a two-week homeland tour playing operetta behind Jonas Kaufmann, retains its present site arrangement.

Screenshot © Bayerischer Rundfunk

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BR Campaign Runs Out of Gas

Monday, February 10th, 2014

Poster for Herbert Blomstedt’s February 2014 concert with the BRSO

By ANDREW POWELL
Published: February 10, 2014

MUNICH — Creative exhaustion appears to have arrived for a whimsical, multi-year promotional campaign here. Its subject: the Bavarian Radio Symphony Orchestra. Its budget and goals: inscrutable. The thing would never have seen the light of day in the U.S., if only for legal reasons, and its existence is one of several signs of a vain administration within parent entity Bavarian Broadcasting, or Bayerischer Rundfunk, known as BR.

Centered on posters, or Plakate, the distinctive campaign eschews images and color and relies for its life on typography, specifically the manipulation of one clunky serif-and-sans-serif font, used until recently with flair. Typically, names or numbers related to a concert program are toyed with. Riccardo Muti comes to conduct, and so we see a giant MU. At some distance, not where spelling dictates, we land on the TI. Or RAT tops a Ligeti-Schumann-Haydn-Sibelius poster, its TLE completing the conductor’s name lower down. III, heavy like prison bars, blares out for a Bruckner Third Symphony.

The layouts show up on street posters, the Internet, handouts, even on the BRSO’s scholarly and free concert program books. They are the brainchildren of Bureau Mirko Borsche, whose trending design clients include Zeit Magazin, Harper’s Bazaar and the Bavarian State Opera.

But the design firm’s ideas have become less flattering of late. A gas mask promotes Herbert Blomstedt’s all-Brahms program this week (Feb. 13 and 14). In use for months already, the image results from a zoomed-in, weighty letter B, rotated right. The composer’s name forms a facial pout that traces the B’s dimple, with the conductor’s name straight, above the mask’s eyes. No slur is meant, one must assume. Other inverted or morbid layouts, including distorted initials, have dampened the aging campaign’s fun as options for novelty have narrowed.

Is there oversight? Only of the lightest kind, apparently. Beyond the posters, questions lurk about misleading buttons and missing contact information on the BRSO website, extravagant BRSO sales literature, and a peculiar organizational structure.

Orchestra administration is buried deep inside BR, a Munich-based, license-funded broadcaster with a budget above $1 billion and more on its plate than classical music. Just how deep is reflected on BR’s giant website, whose home page offers no direct link to the orchestra. Site visitors must learn that the acclaimed BRSO is part of BR Klassik, and then a link can be found. Once on the orchestra’s home* page, material is clearly presented. But not all of it. A click on “Presse” at the top, for instance, loops you back to BR and no fewer than sixteen press officers, one of whom, Detlef Klusak, has “Musik” after his name. In a brief call last week, however, Klusak confirmed he has nothing to do with the BRSO.

Finding the orchestra’s managers from its home* page is a trip in itself. You first click on “Orchester,” then on “Die komplette Besetzung” (the whole cast) under an illustration showing only musicians. You scroll down to the lower right corner of the next page, click on “Management,” select and copy the name of the person you want — there being no email addresses or phone numbers on the secluded page — and Google him or her!

Nikolaus Pont is in charge. New, with less than a year on the job, he did not initiate the promotional campaign or plan the website, and it isn’t clear yet whether he is more than a caretaker. (Fundraising, to be sure, is not front-and-center for him as it would be for an American counterpart.) Still, he must have reviewed the BRSO’s 2013–14 season brochure.

Or rather book. Weighing in at 1 lb. 6 oz. (more than half a kilogram), its 180 pages lie between thick, gloss-coated card and a cloth, die-embossed orange spine. Inside are concert details and color photographs, including four hopelessly sullen shots of Chefdirigent Mariss Jansons. Freely distributed, the Bureau Mirko Borsche-developed book carries no paid advertising. Broadcast-license-payers can only imagine its cost and the fees earned for design and printing.

An area optimistically labeled “Kommunikation” is headed by Peter Meisel, while another group has its own person under “Marketing.” Meisel works directly with the design firm (a Facebook favorite) but his diverse duties include photography, video liaison and special events. He is, moreover, tasked with keeping the world’s press (including this blog) informed of, and involved in, BRSO activities. A recent round-robin list showed 78 email contacts for the orchestra’s media outreach: 14 within BR, 9 at the Süddeutsche Zeitung (Bavaria’s answer to The New York Times), 16 at other Bavarian media outlets, 16 German outlets, 2 foreign (including Musical America), 6 German freelance music journalists, 2 non-media and 13 private.

Is it time for fresh approaches at the Bavarian Radio Symphony Orchestra? By U.S. standards, certainly, on several fronts, starting with more management accessibility and a promotional campaign that respects visiting artists. As for this week’s concerts, Brahms will pout or smile depending on Blomstedt and the musicians, not on any poster design. The serene and sage maestro, still effective in his eighties, will no doubt laugh his gas mask right off, but of course that would suggest an altered formation for B-L-O-M-S-T-E-D-T.

[*Domain and site changes in April 2015 removed the awkwardness described here.]

Screenshot © Bayerischer Rundfunk

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BR Chor’s Humorless Rossini

Saturday, November 2nd, 2013

Chor des Bayerischen Rundfunks

By ANDREW POWELL
Published: November 2, 2013

MUNICH — Can music be sincere and ironic at the same time? Ask Peter Dijkstra, the artistic leader of the BR Chor who last weekend (Oct. 26) led Rossini’s Petite messe solennelle as billed. Solemnly. The result sounded not much like Rossini. Nobody smiled, and the musicians looked tense on the stage of the Prinz-Regenten-Theater, even as they sang and played expertly.

But perhaps the composer was smiling, wherever he is. The famously social 71-year-old used the tuneful giddy Mass — his only complete setting of the Ordinary — to demand admission to Paradise, describing for God its ingredients: “[un] peu de science, un peu de coeur.” The year was 1863 and Paris was digesting Darwin’s De l’origine des espèces, ou Des lois du progrès chez les êtres organizés, in its first French edition. Rossini may have viewed his demand as only natural. Ditto his casting stipulation: “chanteurs des trois sexes – hommes, femmes et castrats.”

If Dijkstra’s straight face precluded irony, and with it a few musical plaisanteries, at least he secured a tidy performance. His choristers, forty strong, mustered volume sparingly, reveling most of the time in transparent textures, soft floated tones and expressive accents. The evening burst into life in their spry counterpoint for Cum Sancto Spiritu, but choral virtuosity was just as apparent in Rossini’s contrasted, wistful Sanctus.

BR Chor members could have been assigned as quartet soloists, as the composer planned. Instead, BR (Bayerischer Rundfunk) hired glamorous outsiders. Regula Mühlemann and (mezzo-soprano) Anke Vondung paired exquisitely in the soprano and alto duet Qui tollis peccata mundi. Mühlemann’s sweet, light sound and the charm of her phrasing added luster to the Thomas Aquinas hymn, O salutaris hostia, interpolated after the Sanctus by Rossini (in 1867) to press musically his case for an agreeable afterlife. Vondung attuned herself to all colleagues, singing with dynamic sensitivity and great poise. She even adjusted neatly to the sudden weight of the Agnus Dei, pleading earnestly for mercy and peace against the score’s quirky aura of melodrama.

Eric Cutler and (baritone) Michael Volle made heavy work of the tenor and bass solo parts. Cutler, alarmingly, bellowed through the Domine Deus, but he brought finesse to the ensembles. Performing on a break from a run of Les vêpres siciliennes in London, Volle brightly characterized his words.

Mordant musical wit in the Petite messe solennelle mirrors Rossini’s droll remarks in its dédicace to God and on the manuscript’s flyleaf. In a skillful reading, particularly one using the original scoring for two pianos and harmonium, as on this occasion, a thread of humor helps link the incongruous styles and moods of the individual sections, ranging as they do from jaunty to buffo to melodramatic to properly solemn.

Dijkstra erred anyway on the side of objectivity, also slowness, and passive accompaniment from the duo pianists belabored his approach. Andreas Groethuysen (principal) and Yaara Tal (second piano) hovered below the music’s surface much of the time. The bubbly rhythmic figurations in the Kyrie passed by unremarkably. The instrumental Offertorio, waggishly labeled Prélude religieux lest anyone find it misplaced, lacked shape and in fact dragged. Groethuysen faltered technically now and then as well.

In a nod to the Verdi bicentennial, Dijkstra began the concert with the unaccompanied, seldom-heard Pater noster (O Padre nostro che ne’ cieli stai) of 1878, sung mellifluously in clear Italian with restrained power. Here his straightforwardness paid off. (Mariss Jansons is chief conductor of the BR Chor.)

Photo © Johannes Rodach

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Jansons Extends at BR

Monday, June 3rd, 2013

Mariss Jansons

By ANDREW POWELL
Published: June 3, 2013

MUNICH — Mariss Jansons has signed an extension of his contract as Chefdirigent of the Bavarian Radio Symphony Orchestra and its choral forces, Bayerischer Rundfunk (BR) announced today here. The added period runs from Sept. 2015 through Aug. 2018.

The Riga, Latvia-born conductor, 70, also serves as chief conductor of Amsterdam’s Concertgebouw Orchestra. His tenure in Munich, a collegial one, began in 2003.

Separately, at a ceremony in the Prinz-Regenten-Theater tomorrow (June 4), Jansons receives the 2013 Ernst von Siemens Music Prize. He has promised to donate its €250,000 bounty toward the design and building of a (much needed) new concert hall for Munich should the project actually happen.

BR additionally announced the promotion of one of the orchestra’s artistic planners, Nikolaus Pont, 41, to the position of Orchestermanager. Born in Vienna, Pont earlier worked for the Wiener Konzerthaus and the Austrian broadcaster ORF.

Photo © Matthias Schrader

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A Stirring Evening (and Music)

Wednesday, April 24th, 2013

Lakeside at the Evangelische Akademie Tutzing

By ANDREW POWELL
Published: April 24, 2013

MUNICH — Members of the Bavarian Radio Symphony Orchestra venture six times a year to Lake Starnberg, some 20 miles southwest of here, to play chamber music at the Evangelische Akademie Tutzing, or EAT, as its website favicon reads. A mid-season program (Feb. 24) paired quintets by Mozart and Schumann in the venue’s airy music room, drawing skilled performances. But extra-musical ghosts disturbed this particular offering: concert tickets include a guided tour of EAT — once a lone lakeshore chapel, later a castle, palace and U.S. Army HQ — and our evening began with docent tales of, among other matter, a 1945 American troop obliteration of the palace library, Dwight Eisenhower’s name being dropped for good measure.

What? The troops fight their way into Bavaria, set up at Tutzing Palace to administer a new basis for democracy, and are remembered for trashing books? So much for perspective. Then again, Tutzing can seem stuck in the 1920s and 30s: Adolf Hitler’s beer-hall putsch buddy Erich Ludendorff is grandly buried there and the former fishing village memorializes “Hitler’s pianist” Elly Ney — Carnegie Hall attraction in 1921, ardent Nazi by 1933 — on its much-visited Brahms Promenade. Physically the town has changed little over the decades.

Our thoughts stirred by the guide’s earful, we crossed the yard for musical respite. Mozart’s G-Minor String Quintet, K516, resounded in handsome proportion and balance. Antonio Spiller, first violin, stressed the cheery second theme of the opening Allegro emphatically enough to prepare for Mozart’s abrupt turn in the closing movement. Leopold Lercher, Andreas Marschik and Christa Jardine partnered him attentively throughout, even if they couldn’t quite match his poise and confidence. Cellist Helmut Veihelmann intoned with care, but the ear craved more of a grounding, more cello volume. In the Schumann Piano Quintet, after a coffee break and snowy stroll by the lake (pictured), unrestrained collegial exchanges and pianist Silvia Natiello-Spiller’s buoyant passagework found color aplenty, even kitschy color. Marschik took the viola part.

EAT’s buildings date to medieval times. The small chapel got wrapped in a castle in the 16th century, its watery and Alpine views appropriated. Sundry owners and architects later morphed the premises into a modest post-Baroque palace. In 1947 the Lutheran Church assumed control, followed by ownership two years later in a 350,000-Mark deal. Tranquil seminars and coffee-table conferences now prevail along with occasional music events, such as those of the BRSO ensembles.

Given the pre-concert assertions and the irksome notion of book destruction, this U.S. listener decided on a little post-concert research. Quick findings: Eisenhower did spend time in Tutzing in the 1940s, returning there repeatedly for off-duty art lessons in 1951, but where he stayed isn’t clear; and the palace library did vanish during the 1939–45 war, but whether the honors fell to the U.S. Army isn’t clear at all. And regardless of what happened to the books, the American presence achieved positive results in Tutzing starting immediately.

Indeed, one life-saving story would well serve EAT’s docent and his Bayerischer Rundfunk (BR) pre-concert narrative. On the night of April 29, 1945, a train of prisoners — Russians, Romanians, Hungarians and Poles — pulled into Tutzing station. 800 in number and mostly men, they had been dispatched from Bavaria’s newly wound-down Mühldorf concentration camp, east of Munich, to the Tyrol, and to slaughter at the hands of waiting SS personnel. But a providential delay occurred — Tutzing is 90 minutes from the Tyrol — attributed variously to a faulty locomotive, a righteous local flagman, and even a prescient German commanding officer.

The next morning, on the same day that Hitler turned the lights out and Munich fell to the Allies, the XX Corps, part of George Patton’s U.S. Third Army, reached the town. Little fighting ensued because Tutzing was a Red Cross safe zone. The troops soon located the Benedictine Hospital crammed with wounded German soldiers, and the makeshift care beds arrayed in the high school and other buildings. Then they found the train, confronting directly the horror of camp survivors and at first wrongly concluding that Tutzing itself had been a camp location. The prisoners were told of their freedom, and the weakest removed from the train for treatment.

Decisive action followed. The American command seized a number of Tutzing homes for emergency use, instructing the locals to double up with their neighbors. The less seriously wounded of the German soldiers now lost their hospital beds to Mühldorf survivors in critical condition, the majority of them Jewish Hungarians. Although educated by the Reich to resist the enemy to the bitter end, many Tutzingers waved white flags for the U.S. troops, engendering whistles of censure from their more determined neighbors.

On May 1 the troops located a Nazi school campus on high ground in the next village, Feldafing, and rapidly commandeered it to serve as a new home and care facility for the former prisoners, now officially “displaced persons.” (Novelist and social critic Thomas Mann had owned a condo retreat in one of the campus buildings. He lived in Munich for 40 years before fleeing the country upon Hitler’s ascendancy in 1933.) On the morning of May 2, a working locomotive having been procured, the Todeszug crept back three miles the way it had come and transferred the survivors, giving them real beds and room to roam. Months later, after it became clear across Germany that ethnic groups among former prisoners did not always get along with each other, each displaced-person facility would become designated for a specific group, Feldafing for Jewish Hungarian survivors. With a population that eventually climbed above 4,000, the site would gain a reputation as “a place … to find missing people.”

The war raged for another five days before tacit German surrender May 7 at Reims. American troops requisitioned Tutzing Palace on June 7, setting up Army of Occupation HQ there three days later. This remained operative until the end of 1945, a pivotal command center at the very start of the 10-year Allied Occupation of Germany. In context, the books seem inconsequential.

Photo © Evangelische Akademie Tutzing

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