Visit Violins of Hope Nashville, sponsored by the Nashville Symphony:
About Violins of Hope
The Violins of Hope are a collection of restored instruments played by Jewish musicians during The Holocaust. These instruments have survived concentration camps, pogroms and many long journeys to tell remarkable stories of injustice, suffering, resilience and survival. The Nashville Symphony is bringing the Violins of Hope to Nashville to facilitate a citywide dialogue about music, art, social justice and free expression.
The Nashville Symphony has partnered with more than two dozen local groups and organizations on a community-wide series of events around these instruments, highlighted by an exhibition at the Nashville Public Library. The sound, presence and stories of these instruments will drive the creation of music, visual art, theater, public conversation, interfaith dialogue, readings and educational activities throughout Middle Tennessee.
“Each of these instruments has a remarkable story to tell about resilience of the human spirit in the face of unimaginable difficulty,” says Alan D. Valentine, Nashville Symphony president and CEO. “This singular collection will serve as a springboard for many of Nashville’s cultural organizations to explore the vital role that music, the arts and creativity play in all of our lives. We are thrilled to be working with so many enthusiastic partners on this historic initiative.”
“The Jewish Federation of Nashville is honored to partner with the Nashville Symphony in bringing the Violins of Hope to Nashville,” says Mark S. Freedman, Executive Director of the Jewish Federation and Jewish Foundation of Nashville and Middle Tennessee. “For our Jewish community, this represents a profoundly important opportunity to let these sacred instruments provide a measure of redemption to the millions of Holocaust victims who perished simply because they were Jews. These violins should serve as a clarion call throughout our city that the words ‘Never Again’ must resonate through every one of us in our collective struggle to overcome bigotry and hatred.” (from ViolinsofHopeNashville.org)
Pavel’s Violin is averaging a review of 4.7 stars. One reader says this:
December 24, 2017
Format: Kindle Edition|Verified Purchase
Well written..very much in the style of the Czech language and culture. The feeling you have from the words are ancient yet contemporary; just like the land itself. The words, whether narrative or descriptive, allow the visual images to flow so vividly.
Just like the Land itself:
(C)2017 Walter William Melnyk, All Rights reserved
From “Pavel’s Violin”
Chapter 19: By The Theresien Gate
In her day, Maria Theresa had not been a great friend of the Jews. It was an irony, therefore, that so many places crucial to the history of the Jewish people were named in honor of that de facto sovereign, the last but three of the dying Holy Roman Empire. Most were dedicated by her son, Joseph II, perhaps in gratitude for her making his own Imperial career possible. Two of Joseph’s projects, in particular, came to play important roles in the lives, and deaths, of many Olomouc Jews. One was a fortified town near Bohemia’s border with Germany, built between 1780 and 1790. Another was the Theresientor in Olomouc, a triumphal arch in the city wall, completed in 1753. The first, Theresienstadt, would one day become a concentration camp where tens of thousands of Jews died. The second became, in 1897, the site of one of the largest and most beautiful synagogues in Europe. Yet it, too, was doomed to death and destruction.
Rabbi Berthold Oppenheim ascended the bema of the new Synagogue on the proudest day of his life, and the most joyful day in the history of Olomouc Jews. It had begun some two hours earlier as people were entering the Theresienplatz through the Teresien Gate in the northeast. The gate itself was a magnificent Triumphal Arch, intentionally preserved when the city walls had been demolished a few years earlier. It was made with red brick, and faced with granite blocks and friezes. The keystone of the main arch bore an image of the Empress, and above, in Latin, the legend MTHERESA DGRIGHBR and the date MDCCLIII. Maria Theresa, by the Grace of God Emperor of Rome Queen of Germany Hungary and Bohemia, 1753. It had been part of the Theresien Wall, and contained guardrooms within several smaller arches.
Once through the Gate, guests found themselves on a wide greensward with paths winding through trees, shrubs and spring flowers, with the main path running from the Gate to the Portico of the Synagogue. Those who arrived neither too early nor too late encountered hundreds of people milling about, or clustered in small groups in animated conversation. It was a beautiful spring day, a week before the start of Passover. A Sunday morning of light blue skies and large white clouds. And to the left, the magnificent new Synagogue, the morning sun backlighting the massive central dome.
“Herr Gartner! Herr Gartner, over here!” The architect turned and waved, as the cluster of well-wishers approached him. They were upon him in a moment, competing to shake his hand. Jakob Gartner, the renowned architect from Vienna, had been chosen to build the Synagogue, which had been completed in two years at a cost of nearly two hundred fifty thousand gulden. Gartner happily pointed out various architectural features, as the crowd grew larger around him.
The building was designed in the Oriental Byzantine style with alternating layers of red and white brick. The large central dome caught the eye first, topped by a cupola and spire. At the front corners stood two towers with smaller, matching domes, in a rich green. Five arches, three in the central façade and one in each tower, surrounded arched stained glass windows, topped with rosettes. At the peak of the gable were two stone tablets inscribed with the Ten Commandments of the Law. The building measured twenty-two by thirty-nine yards altogether, and the height of the dome was about one hundred and fifteen feet. Perhaps there may have been some sort of synagogue in the old Omolouc, before Ladislav the Posthumous had expelled the Jews in 1454, but certainly it would have been nothing like this. It was a fitting match for the Cathedral of Saint Wenceslaus, across the city.
As 10:00 o’clock neared, the crowd began to hasten through the three front doors, to find the best seats for the concert. The Synagogue had seating for four hundred and forty men and three hundred and four women. But soon there would soon be only standing room. The Jewish population itself was more than sixteen hundred.
The front vestibule in the northwest led directly into the main hall, on the ground floor, for the men. A side stairway led to the women’s balcony, which overlooked three sides of the hall. And in the center of the hall there rose the great dome, an ironwork structure fully as tall as the outside height of the building, and held high by four massive pillars. At the east end of the interior was the elevated bema with the Aron Kodesh, the Holy Ark for holding the Torah scrolls, in the shape of a small temple. Also on the bema were the Table for reading the Torah, and a pulpit for preaching. Beyond the Ark, to the southeast, was a small daily house of prayer, with its own Ark and pulpit, and benches for fifty people. The choir and organ were set above that, facing out into the hall. The organ, a fixture of the Jerusalem Temple, at least according to Scripture, had been reintroduced to synagogue worship early in the century, not without controversy.
The Synagogue organist had been playing a Bach prelude as the guests entered and found their seats. As the music ended, Rabbi Berthold Oppenheim stood, and surveyed the crowded pews. This was the first official function in the new Synagogue, which had not yet seen its first service of sacred worship. That would come on Friday evening, an especially auspicious Erev Shabbat, because it would also be the first night of Passover.
“This is a deeply meaningful day for the Jews of Olomouc,” he said. “Nearly thirty years ago, the Jewish people returned after an exile of four hundred years. Far longer than our forefathers sojourned in Babylon, and very nearly as
long as we dwelt in the land of Pharoah. Almost fifty years ago, after the rebellions of 1848, our beloved Emperor Franz Joseph released us from exile for a time, and many Jews in the countryside began to come back to Olomouc. It took another twenty years for our emancipation to become complete, but since then the Jewish community in Olomouc has grown and prospered.”
Martha Oppenheim looked down proudly upon her husband from her own place of honor in the women’s balcony. Their own journey had been shorter and easier than that of the Children of Israel. Berthold came from a family of Rabbis. He had been called to Olomouc in 1892 after serving as Rabbi for two years in Miroslav, south of Brno. He had studied in Berlin and Breslau, and Martha was certain he had a remarkable career ahead of him. He had only been in Olomouc two years when the Jewish community decided they were big enough for a synagogue. And no small synagogue either! One a hundred and twenty feet high with three domes, and room to seat almost eight hundred people. She looked around at the cavernous hall, filled to capacity. “I thank Thee, Lord, I thank Thee,” she thought
“And so,” he was drawing to a close, “all are welcome here today. Jew and Gentile, rich and poor, Czech and German.” He added the last with careful emphasis. “Please enjoy our brief concert.”
(C)2017 Walter William Melnyk
All Rights Reserved
The Feast of Sukkos was everyone’s favorite holiday in Lipnik. The Rabbi explained it as a celebration of the liberation from Egypt, and the wandering in the desert. A time, he lamented, when “the Jews were more religious than they are these days.” The Talmud commanded that once a year, at the end of the Holy Days, Jews should be build a temporary booth, a sukke, in their yard and live in it for a week. Well, strictly speaking only the men were obligated. But the rest of the family “dropped in” often, and all meals were shared there.
“The sukke reminds us that the Holy One, may His Name be blessed, brought us out from slavery in Egypt,” the Rabbi said each year, “and taught us for forty years in the wilderness before giving us the Promised Land.”
But every holiday had its worldly roots as well, and it was those roots that people who were not Rabbis were most likely to celebrate. Originally the Feast of Booths was a harvest festival, when villagers would live in temporary shelters out in the field, bringing in the harvest, and celebrating their bounty.
“Which is why our sukke today,” Levi whispered, eyes darting about for the Rabbi, “is decorated with gourds and vegetables, and wheat, which no Jew ever found in the middle of a desert!”
By the time they had finished hanging decorations, and putting up a table and benches, it was nearly dark. Miryam and Beylke, along with, the daughters in law, began carrying platters and baskets of food from the house. Levi busied himself with a final inspection of the sukke, the Papa’s duty.
It could be of any size a family needed, as long as it had at least three walls, which could be of any material. The roof had to be natural, however, usually cut branches. The Mishna said so. It had to be solid enough to give shade, but open enough so you could see the stars through it at night. In nice weather it was nice. If it rained, it rained. And when the sun went down on the first day of the feast, the celebration would begin. In the gathering dark, Miryam lit the two candles, saying,
“Blessed are you Adonai Eloheinu, who has commanded us to light the candles of Sukkos.” Levi waved a sheaf of grain and a basket of fruit before them.
“Blessed are you,” he said, “Who gives us the fruit of the earth.”
“Can we eat now?” Anshel begged, from behind his mother, and they all laughed.
“I think we have a wise grandson,” Levi said. “Let’s eat!”
After the feast, with stars shining through the roof branches and fresh candles lighted, everyone helped to clear away the dishes. Brandy was brought out for the adults, cider for the children, and the eldest daughter, Mryam’s only daughter, Beylke, began the evening’s festivities with the family’s traditional request,
“Tattenyu!” she called out to her father, “Tell us the story of the Little Sukke!”
“Well, children, gather ‘round,” he said with a grin. This was always the signal for everyone to “gather ‘round,” no matter what age, on benches or on the ground, to listen to Reb Levi’ song.
“You know,” he said, surveying his many children and grandchildren, “Our sukke is not so little.” He gestured with a wide sweep of his arm. “But that is because our family is not so little!” Everyone laughed. Those same words were spoken every year. “And this story, about a sukke a kleyne, is not so much about a little sukke, but about a beloved sukke.” He paused and smiled at them all. “A beloved sukke for a beloved family.
“Of course I cannot tell the story without my fiddle!” he announced. The children all clapped with delight, the adults following their lead. Levi reached into a corner behind the table and brought out his old violin, the one he had used for this moment every year since the children could remember.
He made a great show of tuning the strings, taking far more time than was actually needed. This too was part of the family tradition. The young ones jostled and squirmed with anticipation, inching ever closer to their grandfather. The adults remembered days gone by, when they had done the same thing, in the same sukke. Levi continued to tune his strings, with mock seriousness, until he was interrupted by a young voice in the middle of the crowd,
“Grandpa! The story!” and, remembering his place, “Please!” Levi looked up, in pretended surprise.
“What? Oh. Oh yes, the story!” He drew his bow across the strings, testing his tuning.
“This song is an old, old story about our people. It was first told many years ago, when we escaped from Egypt and wandered in the wilderness on our way to the Promised Land.” Eidel, Beylke’s daughter, raised her hand.
“Were you there, Grandpa?” she asked. Levi pulled on his beard.
“You think because of this beard I’m as old as Methuselah?” he laughed. “No, Eidele, it was too long ago, even for me. But if you are a Jew, it is always just as if you had escaped from Egypt yourself. One day,” he turned serious for a moment, “you will understand.” He looked all around before going on.
“Tonight, everyone, I have two surprises!” again the children clapped gleefully. “Beylke, my Daughter, come sit with me.” Beylke smiled. She knew what was coming. She went quickly to her father, and sat next to him on his bench.
“Here is the first surprise,” said Levi, his eyes twinkling. “Beylke has been taking lessons from me on the fiddle.” Everyone laughed. That was no surprise. They had all heard the sounds of those lessons for months, beginning with scratches and squeals, slowly becoming softer and sweeter.
“She has been taking lessons,” Levi said, “and now she is ready.” He handed the fiddle to her, “and tonight she will play for the sukkaleh tale!” More joyful clapping, and a cheer from Motke, her husband. Beylke blushed, and raised the instrument into position.
“This is an old, old tale,” Levi began, “and it has been told many times, in many lands, in the many languages our people have known. Many of the words have changed many times, and doubtless will continue to do so in the many years ahead.
“This is really a song about two sukkes,” he held up his fingers. “A little one, and a big one. We are sitting in the little one.” Everyone laughed. “Well, I know it looks big, but, believe me it is little compared to the other.
“The big sukke is our people, the Jews. It is so big that millions of us from all over the world fit into it!” A gasp arose among the children.
“But even if our little sukke looks weak, like a little storm could knock it over,” He paused and looked at one of his grandchildren. “Motel,” he asked, “has our sukke ever fallen down?”
“No, Grandpa, never!”
“Aha!” said Levi. “Never! And the big sukke is just like that. Only much bigger. For thousands of years we Jews have faced many trials and dangers. We have faced many storms, and sometimes we were afraid our story might be all over, and that our big sukke would come crashing down. One time it was the Egyptians in the Torah. Last summer it was the Prussians right here in Olomouc! The big sukke has been shaken by so many storms, but has it ever fallen down, Motel.”
“No!” Motel shouted. ”Never!”
“And so, no matter what fears come upon us,” Levi concluded, “we Jews may be shaken, but we will always stand.”
He nodded to Beylke, who began the sweet, plaintive tune, her slender fingers light upon the strings, playing, not with a learned technique, but with an inborn gift. Levi began the to sing.
A sikele a kleyne,
mit breytelekh gemeyne . . .
There was no sound, except for the father’s voice, and the daughter’s violin.
My Sukkahleh is small, not fancy at all
but is especially dear to me.
Thatch I put on a bit, hoping to cover it,
there sitting and thinking I’d be.
The wind was a cold one,
the cracked walls were old ones,
the candles were flickering low.
At times as if dying, but suddenly rising,
as if they did not want to go.
My sweet little daughter
sensing the danger,
got scared and started to cry.
“Father,” she cried,
“Don’t stay there outside
the Sukkah is going to fall!”
Fear not my child, it’s been quite a while
the Sukkahleh still stands strong.
The wind has been worse my dear,
but it’s been several thousand years,
yet the Sukkahleh still stands strong!
Beylke played the last half of a verse as an ending, and lowered the violin. The children looked around, quietly, in awe, at Beylke, at Levi, at the walls of their own sukkaleh that rustled and creaked in the night breezes. Miryam had tears in her eyes; as did all of all the adults.
“Our People haven’t fallen yet,” Levi said, “and we never will.”
Copyright 2017, Walter William Melnyk, All Rights reserved
Tucked away in the scenic Sequatchie Valley of Tennessee lies the small but impressive community of Whitwell, which boasts a school system second to none. And the cornerstone of Whitwell’s Middle School is their Holocaust Paper Clip Project and Museum.
The Beginning of the Paper Clip Project
In 1998 eighth grade students at Whitwell Middle School began an after-school study of the Holocaust. The goal of this study was to teach students the importance of respecting different cultures as well as understanding the effects of intolerance. As the study progressed, the sheer number of Jews who were exterminated by the Nazis overwhelmed the students. Six million was a number that the students could not remotely grasp. The students asked Sandra Roberts and David Smith if they could collect something to help them understand the enormity of this extermination. The teachers told the students to ask permission of principal, Linda M. Hooper. She gave the students permission to begin a collection, IF, they could find something to collect that would have meaning to the project. After some research on the Internet, the students decided to collect paper clips because they discovered that 1) Joseph Valler, a Norwegian Jew is credited as having invented the paper clip and 2) that Norwegians wore them on their lapels as a silent protest against Nazi occupation in WWII.
Students began bringing in paper clips. They wrote letters to famous people asking for a paper clip. The students also asked people to share their reasons for sending a paper clip. To date over 30 million paperclips have been sent to Whitwell Middle School. In addition, the project has received 30 thousand + letters, documents, books, and artifacts. All of these have been counted and catalogued by students and are on display in the Children’s Holocaust Memorial Research Room located at the school.
The paper clip collection has become a part of the “Children’s Holocaust Memorial” created by the students, staff, and community of Whitwell Middle School. The Memorial contains 11 million paper clips housed in an authentic German transport car honoring the lives of all people murdered by the Nazis. And eleven million other paper clips are contained in a monument honoring the children of the Holocaust. Orginally, eighteen (for chai-Hebrew for life) butterflies (the Christian symbol of renewal and the Children of Terezine) enhanced the grounds around the rail car. Over the years, visitors have left several more butterflies. The students, staff, and community of Whitwell Middle School have transformed the car from a death car into a symbol of renewed life honoring the lives of those murdered by the Nazis. For generations of Whitwell students, a paper clip will never again be just a paper clip. Instead, the paper clip is a reminder of the importance of perseverance, empathy, tolerance, and understanding.
Rail Car History
The Children’s Holocaust Memorial consists of an authentic German rail car that was used to transport victims to concentration, labor, and death camps. The rail car houses eleven million paper clips, one for each victim of the Holocaust. A small park surrounds the car. Orginally there were eighteen butterflies some inlaid with stained glass and others free standing copper sculptures. Over the years visitors have left additional butterflies so the number grows daily. There is also a monument honoring the children lost in the Holocaust. The Holocaust Research Room houses over thirty thousand letters, a collection of Holocaust books, artifacts, and art.
Facts and brief history of the rail car:
This rail car was built in 1917 and used for many purposes over the years. After being bought by a German state-owned company in the late 1970’s, the car was used for intra-company transport and then abandoned. During World War II, the Third Reich used this car to transport prisoners to camps. The car was discovered after the war in Poland, near the town of Chelmno. It was used as a grain car after World War II. The grain holes in the floor and the ventilation hole in the roof were put in after the war. This historic rail car transported 80 to 150 prisoners at a time to the camps.
The rail car at Whitwell Middle School was part of the “German Reichsbahn” and is one of the very last remaining “cattle cars” of the Nazi era. This car was located in a railroad museum in Robel, Germany. Peter Schroeder and Dagmar Schroeder Hildebrand (White House correspondents for German newspapers) purchased the car and donated it to Whitwell Middle School. This German rail car, numbered 011-993, was also used in the European film “Stalingrad” and in the U.S. film “Enemy at the Gate”.
How the car made it to Whitwell:
When the Schroeders purchased the car from the museum in Robel, they took on the daunting task of getting the car to Whitwell. After inspection by technicians of the German rail company, the car was declared “rollable” (maximum speed of 30 miles per hour). The German Armed Forces had the car sprayed and disinfected for foreign insects. The “Deutsche Bahn” had a decorative locomotive in front of the car and towed it under official designation “Special Train Holocaust Memorial”. The car traveled 300 miles to the German port of Cuxhaven.
By special arrangement with the German Armed Forces, the Memorial Car was placed on the chartered Norwegian freighter “MS Blue Sky” and was transported to the United States port of Baltimore.
Upon arrival in the United States, the car had to be cleared through customs and the required inspections of the US Dept. of Agriculture. From Baltimore, the CSX Rail Company transported the car to Chattanooga, Tennessee via one of their flatbed rail cars because the wheel gage of the German car conflicted with American rails. Fletcher Trucking Company of Whitwell, Tennessee provided the transportation for the final leg of the trip from Chattanooga to Whitwell Middle School.
B & B Crane Company donated the services of an operator along with a crane capable of lifting 600,000 pounds to set the car on the tracks at the Memorial site. The tracks, which the car sits on, were donated by CSX Railroad Company. These tracks were made in Tennessee in 1943. Members of the community beautified the area surrounding the car.
The Story Continues: Children’s Holocaust Memorial
Through the efforts of the students, staff, and community of Whitwell, and interested people and groups from all over the world, The Children’s Holocaust Memorial at Whitwell Middle School was dedicated November 9, 2001. Approximately one thousand people were in attendance at the dedication. The dedication was an awesome celebration of what a committed group of people can accomplish.
Today, the students serve as docents for the Memorial conducting tours, leading people in learning activities, and responding to inquires about the project. The work of the students is the subject of a documentary titled “Paper Clips”, presented by One Clip At A Time HMA, is a production of the Johnson Group, in association with Miramax Films and Ergo Entertainment.
The Museum Collection
And that’s not all. A room just inside the school entrance has been turned into a museum, with thousands of exhibit items, from photos, to books, to various items of Judaica, to an Ark housing a Torah Scroll, to artifacts of the concentration camps.
Clockwise from Upper Left: Ark with Torah Scroll, Various Artifacts, Museum Library, Volumes of Letters from Visitors and Survivors.
Currently, all of the author’s royalties from the sale of “Pavel’s Violin” go to support The Whitwell Children’s Holocaust Memorial.
Terezin Concentration Camp
Living on a Star in Terezin
When I was young I’d lie
upon the cool grass at night
and gaze upon the sky.
And sometimes I would wonder why
I could not live there, on a star,
and in the heavens dance!
Clean and bright, and pure they are,
I thought, to my earth-bound sight;
tiny, shining beacons of the night.
Now, no longer young, and soon
perhaps to die,
now indeed I live upon a star,
between the river and the plains
that stretch as far
between here and home
as if among the starry skies I’d roamed.
A fortress battle-star of brick and earth:
the tortured turf now sick with sorrow,
void of mirth or stellar dance;
Eight pointed prison bastion of a star,
that is an ugly scar
upon a battered dream.
© 2017, Walter William Melnyk
Benefit Concert for the Museum at Bubny Station, Prague, from where tens of thousands of Czech Jews were transported to Terezin Concentration Camp.
Tommy Lustig’s wonderful memoir, “Children on Death Row: The Hate and the War,” about his imprisonment in Terezin at 6 years old, and his father’s experience in Auschwitz, was the primary inspiration for my historical novel, “Pavel’s Violin: A Song of Hope.” I am just finishing up the wonderful experience of helping Tom to edit his memoir, and it will soon be republished on Amazon in print and Kendle editions. This will be the tenth edition of his work. Watch for it coming soon, with this new cover:
It Must Be The Hat
Why the hat?
Why do we always wear a hat?
What’s with that, I asked,
with the hat?
He looked at me with eyes
as brown as the hat, wise
as the Good Book.
“Look,” he said. “Look,”
and touched the brim
of his brown hat.
“It’s not a whim,” he said,
“of man or God, that
I wear a hat, a hat as brown
as any clod of clay.
It reminds me, in a subtle way
that, like this hat I, too,
am like that bit of clay.
Anyway,” (he looked at me
and winked an eye,
and raised his pointed fingers
to the sky) it keeps the sun off
and the rain.
And otherwise I can’t explain it:
the hat, I mean.”
He tipped the visor up,
and scratched his head.
“Of course it just might be,” he said,
“we never get a chance to put it down
before we’re yet again
run out of town.”
©2017 Walter William Melnyk