As conflict persists in Europe and the Middle East, the lingering impact of World War II remains a poignant reminder in global affairs. This reality extends to classical music, reflecting the broader discussion on the intersection of music and politics. The war’s devastation led to the loss of significant music and the displacement of musicians, many of whom were erased from cultural memory.
In recent decades, there has been a concerted international effort to revive this neglected music. Organizations like ExilArte in Vienna and projects such as Decca’s Entartete Musik series have shed light on this forgotten repertoire and the historical forces that suppressed or erased it.
This revival is not merely about cultural restitution; it also brings to light extraordinary musical works. One such piece is Venjamin Fleischmann’s one-act opera Rothschild’s Violin, based on Anton Chekhov’s short story Rothschild’s Fiddle.
Tragically, Fleischmann was killed near Leningrad in 1941 during the Nazi invasion of Russia. His composition teacher, Dmitri Shostakovich, salvaged the incomplete score and completed it in 1943.
Chekhov’s story, steeped in irony, reveals that the Rothschild of the title is not a wealthy banker but a poor Jewish musician who is not even a violinist initially. The opera faced further irony when, after World War II, Stalin’s purges delayed its Soviet premiere until 1960. The opera’s themes of religious tolerance and acceptance were met with suspicion, limiting its performances in the Soviet Union.
It wasn’t until 1996, with a recording by Gennady Rozhdestvensky and the Rotterdam Philharmonic, and an accompanying documentary film, that the opera gained significant attention outside Russia. It has since become apparent that Shostakovich’s engagement with the opera and its composer influenced his own subsequent works, particularly those with Jewish themes.
Despite its impact, Rothschild’s Violin remains relatively unknown in Australia. A chamber version was performed at the Port Fairy Spring Music Festival in 2008, but it will receive its Australian premiere in its original orchestral form at the University of Melbourne’s Melba Hall on the afternoon of Sunday, September 29.
The opera continues to serve as a political statement, addressing antisemitism and broader racial and cultural prejudices. Yet, it does so with humor, humanity, and a score that is both lyrically engaging and, in its poignant final passages, deeply moving.
