The Citadel of Concentrationary Music
Campus of Music Sciences
Multimedia Music Library
Museum of Regenerated Art
Nuovi Cantieri Theatre
International Bookshop of the 20th century

Istituto di Letteratura Musicale Concentrazionaria / Institute of Concentrationary Music Literature (ILMC Foundation) was founded in 2014, its registered office is in Barletta, via V. Marone 38/C and it is recorded at the Legal Entities Register of Prefecture of Barletta–Andria–Trani;
ILMC Foundation is a legal entity envolved to research, study, cataloging, recording, publication and promotion of Concentrationary Music that is the music written and created both in civil and military captivity or under extreme conditions of deprivation of fundamental human rights from 1933 to 1953.
ILMC Foundation submitted to the City government of Barletta the project The Citadel of Concentrationary Music after public notice issued on 2016, 29th of July (a national competition of Council of Ministers), on 2016, 26th of August the City Council gave to this project a favorable opinion to ministerial support.
The feasibility study namely the preliminary project was designed by architect Nicolangelo Dibitonto.
The Citadel of Concentrationary Music will be built on a total space of approx. 7,845 square meters on the area of the former Distillery of Barletta, close to the railway station from the side of the terminal of Ferrovie Nord–Barese which is connected to Bari–Palese airport.
The Citadel will consist of five divisions: Campus of Music Sciences, Multimedia Music Library, Museum of Regenerated Art, Nuovi Cantieri Theatre, International Bookshop of the 20th Century, in addition a Campus Park and the open theatre Nuovi Cantieri Open.
The Citadel of Concentrationary Music is the fulfillment of the research that the pianist and researcher Francesco Lotoro made over the past 30 years, today his documentary and philological work is protected by ILMC Foundation; the Citadel will be completed and fully operating in 2020.
 
Concentrationary music
is the music created in imprisonment, transit, forced labor, concentration and extermination Camps, jails, ships and logistics turned in imprisonment sites, POW Camps, Stalag, Oflag and Gulag open both by Third Reich, Italy, Japan, Italian Social Republic, Vichy regime and other Axis countries as so as Great Britain, France, Soviet Union and other Allies countries in Europe, colonial Africa, Asia, U.R.S.S., U.S.A., Latin America and Oceania from 1933 (opening of KZ Dachau) to 1953 (death of Josif Stalin and amnesty of prisoners in the Gulag) by discriminated, persecuted, imprisoned, deported, killed or survived musicians of any professional, artistic, social, religious, national background: Jews, Christians, Sinti and Roma and other Romanès people, Euskaldunak or basque people, Sufi, Bahá’í, quakers, J.’s Witnesses, communists, disabled, homosexuals, civilian and military prisoners. Briefly, concentrationary music means musical production created in captivity or under extreme conditions of deprivation of fundamental human rights; as an authentic World Heritage, it is one of the most important legacies of the universal History related to the phenomenology of the deportations. On the shelves of an imaginary library of the History of Music of the 20th century, the concentrationary music is missing; music historiography must be updated in the light of the abyss open thanks to the recovered music written in captivity from the opening of the first Lager to the closure of the last Gulag.
The rise of Nazism and the progressive de–Stalinization of Soviet Union are the poles of a huge historical and geopolitical plan, artistic creativity in captivity is a human common factor among them; there is a deep interconnection between historical and social phenomenology of Nazi–fascism and Stalinism, it is based on deportation, exile, internment and psycho–physical annihilation of people.
The persecution, imprisonment, deportation and murder of musicians from 1933 to 1953 because of pseudo–racial and political reasons or related to the war development is an epochal event for Western civilization; many composers, conductors, soloists, theatre and artists disappeared around 20 years.
During the most tragic moment of History, the Mankind began the most advanced mechanisms of conservation unleashing a burst of creativity, as a Testament that the concentrationary world wrote in the Camps scoring an apical point of the genius. Concentrationary music is strongly transversal and able to involve people and situations geographically and historically so far apart; it has been not possible to save the life of many deported musicians but we saved their music, it is as to save their lives in the universal, metahistorical and metaphysical meaning.
This music does not need of historical vehicles like war, deportation, Shoah, Porrajmos, the term concentrationary is useful only for research purposes; the composer created regardless of the surrounding environment, carried out with a mental and technical clarity an intellectual and manual work, hardship or loss of freedom or physical discomfort did not represent an obstacle to his creativity but a strong stimulus.
The musical language would be very different or would travel further, unpublished ways if some musicians such Viktor Ullmann, Gideon Klein, Pavel Haas, Leo Smit, Nico Richter and hundreds of composers, conductors, pianists, violinists or even jazz musicians survived.
Today, we give back life and dignity to thousands of musicians and their music written on notebooks, toilet paper, jute bags, paper for foods or handed down by heart while they were still on the trains; to revive this music is not a free choice but a required mission.
In Theresienstadt some great musicians forged a musical thought which made it as a crossroads of contemporary music; in the Studio für Neue Musik in Theresienstadt advanced musical languages were experimented, the Study for string orchestra by Pavel Haas amplifies the virtuosity of the Concerto for Orchestra by Béla Bartók, the Madrigals by Gideon Klein foreshadowed a musical Renaissance of which no trace remained after 1945.
As a pupil of Arnold Schoenberg as well as a genius who scanned the musical future, Viktor Ullmann was an endless horizons musician; Ullmann would have the ability to influence the contemporary musical language, this is much more than being a great musician and composer (he died in the gas chambers at Birkenau in 1944, October with his wife of Elizabeth and his son Max).
Ullmann felt epochal changes and, about Theresienstadt, wrote: "It has served to enhance, not to impede stimulate, not to prevent my musical activities and never we sit weeping on the banks of the waters of Babylon; our endeavour with respect to Arts was also commensurate with our will to live. I am convinced that all those who, in life as in art, were struggling to impose order on chaos, will agree with me".
Six orchestras were established in the complex of Camps in Auschwitz, among them a Polish orchestra of Auschwitz I Stammlager, a Romanès orchestra of the Zigeunerlager, a jazz ensemble, a male orchestra of Birkenau conducted by Szimon Laks and a female one conducted by Alma Rosé.
In 1941 the Czech composer Ervin Schulhoff was interned to the Ilag XIII Wülzburg, there he wrote the piano score of 8th Symphony; the French composer Emile Goué, interned to the Oflag XB Nienburg/Weser, wrote 2nd Symphony for principal violin and orchestra, the mimo–opera Renaissance, treaties of musical aesthetics; survived, he died in 1946 because of a contracted infection in the Camp.
In 1942 Colonel Edmund Lilly surrendered with his troops to the Japanese Army during the Battle of the Philippine Islands; survived the death march of Bataan, then transferred to Shirakawa (Taiwan) and finally Mukden (Manchuria), he wrote a voluminous Songbook and instrumental works.
In 1943 the Italian composer Berto Boccosi, interned to the French POW Camp of Saïda (Algeria), wrote the opera La Lettera Scarlatta while in the penal colony of Westerbork the musician Hans van Collem wrote on toilet paper Wiegenlied and Psalm 100 for male choir after having drawn the notes on the potato field soil at which he made forced labor.
After the Nuremberg Laws, some musicians with a German or Austrian passport obtained political asylum in Great Britain but at the outbreak of War they were interned as formally belonging to a belligerant State; thousands of enemy aliens were transferred to the Australian Camps of Hay and Tatura, among them the composer Werner Baer, ​​the Rabbi Boaz Bischofswerder and his son Felix Werder who in Tatura wrote Symphony n.1, Off and Running and Psalm 127.
In the prison of San Vittore Milan the Sufi Gabriele Mandel wrote Canto for tenor and piano while in the Vazební věznice Prague–Pankrác the political prisoner Rudolf Karel (tortured, suffering from dysentery and banned from writing) stretched out clandestinely the piano scores of Nonet and the opera Tři Zlate Vlasy Děda Vševěda writing with charcoal on toilet paper; in 1945, February Karel was transferred to the Kleine Festung of Theresienstadt, there he died on 1945, 6th of March.
During Second World War, there was a further strategic complication that is the colonial geopolitics (today almost disappeared), so from a military point of view it was not enough to occupy the metropolitan territory of a hostile country but also to do to occupy annexed territories; for example, in 1940 German troops occupied the Netherlands and simultaneously Suriname, Dutch Antilles and Dutch East Indies (now Indonesia) opening some internment Camps.
To be mentioned German and Sorbian composers interned in Allied POW Camps (among them Bertold Hummel, Hans Martin, Michael Nauke) as so as composers from U.R.S.S. and other countries imprisoned in the Gulag (among them Gaziz Almukhamedov, Jefim Golishev, Mieczyslaw Weinberg, Alexander Veprik, Mikhail Nosyrev, Boris Sobinov, Aleksandr Mosolov, Alexei Machavariani, Leibu Levin).
Music written by order of the authorities of the Camps has to be quoted as concentrationary one, too; from Fester Schritt of Artur Gold committed by the commandant of Treblinka Kurt Franz to Wie lustig da unser Leben improvised in Sobibòr by Shaul Flajszhakier and Trois Polonaises Varsovienne arranged by Szimon Laks upon order of a Kapo in Auschwitz–Birkenau.

Francesco Lotoro.
Born in Barletta in 1964, piano graduated at the Conservatorium of Music N. Piccinni in Bari, piano specialization at the Academy of Music Franz Liszt in Budapest with Kornél Zempléni and László Almásy, he also studied with Viktor Merzhanov and Aldo Ciccolini. He reconstructed music and text of Weihnachtsoratorium for Soli, mixed choir and piano by Friedrich Nietzsche, performed and recorded both with Coro della Radio Svizzera Italiana and Ars Cantica Choir.
Involved in the piano literature produced during the dramatic events of the 20th century, in 1998 he performed the complete piano and chamber works written after the occupation of Czechoslovakia in 1968 that ended the Prague Spring (recorded in CD Praha '68).
In 1989 he started a project of storage, execution, recording and promotion of music written in imprisonment, internment, transit, concentration, extermination and forced labor Camps, jails, Stalag, Oflag, POW Camps and Gulag open from 1933 to 1953 in Europe, colonial Africa, Asia, Australia, U.S.A., Canada, Latin America and created by musicians killed or survived of any national, social and religious background; he recovered 8,000 musical works and 12,000 documents of concentrationary music, which is widely considered the highest authority.
He founded in Barletta The Institute of Concentrationary Music Literature (today a Foundation).
As a pianist and a conductor, he is the author of the Encyclopedia in 24 CD–volumes KZ Musik.
As a pianist of transcendental technique, he is the only one in the world to have performed and recorded the monumental original piano scores of VIII. Symphonie op.99 by Erwin Schulhoff (written in Ilag Wülzburg XIII), Don Quixote tanzt Fandango by Viktor Ullmann (written in Theresienstadt) and Nonet by Rudolf Karel (written in Vazební Věznice Prague–Pankrác).
He wrote Cantata Ebraica for singer and orchestra, Requiem Barletta 12.IX.1943 for soloists, organ, piano and orchestra, the opera Misha e I Lupi and 12 Studi su un tema di Paganini for piano; he arranged Musikalisches Opfer by J.S. Bach for piano, Deutsche Messe and 14 Canons for 2 pianos.
In 2011 the writer Thomas Saintourens published the book Le Maestro (also in Italian and Czech language) about his life and his research; in 2015 the documentary The Maestro directed by Franco–Argentine regisseur Alexandre Valenti (a French–Italian co–production inspired by the homonymous book of Saintourens) was made.
He teaches Piano at the Conservatorium of Music U. Giordano in Foggia.

Campus of Music Sciences

Master of Concentrationary Music Literature
Emanuele Pacifici National Jewish Music Hub
Department 1
Triennial Course of Jewish Music Literature
Department 2 Study Center of Hazanut in Continental and Mediterranean Europe Historical Archive of Composers from Barletta

Aula Magna, Campus Park

Bistrò The Campus of Music Sciences will cover an area of ​​approx. 1,150 square meters, it will offer spaces for research, study, reading and updating directed both to concentrationary and Jewish music; in the same site, the Historical Archive of Composers from Barletta will be located, educational activities of instrumental practice will be also located at the Nuovi Cantieri Theatre. In the Campus, both activities of the Master of Concentrationary Music Literature and Emanuele Pacifici National Jewish Music Hub including two Departments (Triennial Course of Jewish Music Literature and Study Center of Hazanut in Continental and Mediterranean Europe) will take place; there will be located the Aula Magna, a pipe organ will be built into.
As a classic landmark of great libraries and museums, a Park and a kasher Bistrò under rabbinical surveillance with 72 seats will be established.

The Master of Concentrationary Music Literature is a Master of high–level historical and artistic education based on the music written in civil and military captivity from 1933 to 1953.
The Master program is structured in two years (1st and 2nd level), is held by Francesco Lotoro and renowned teachers, it will propose to the Ministerial accreditation and contains two addresses: • Musicological address. Study after ways of concentrationary music according to the historical, aesthetic, formal point of view, a final dissertation; • Organological address. Study of instrumental, solo or ensemble repertoire, a final examination in a form of recital or staging. Emanuele Pacifici National Jewish Music Hub is dedicated to the Italian historian and witness of the Holocaust Emanuele Pacifici (1931 – 2014) and it is an advanced project of recovery, preservation and storage of Jewish music that is the body of religious, popular and traditional music created and handed down by the Jewish people both in its historic land of Israel and in the Diaspora; the heirs Pacifici donated to the ILMC Foundation papers, publishing, phonographic and recording heritage by Emanuele Pacifici, this heritage will be mastered, catalogued and made accessible. The Hub will develop fundamentally on the following headlines:
a. ethnomusicology and biblical organology, musical traditions of the Diaspora
b. Jewish liturgical music and vocal repertoire from the Jewish renaissance of San Nicandro Garganico
c. music from Beta Israel and Jews of Djerba, Uganda, Libya, Birobidzhan, Kaifeng
d. musicological work by Avraham Zvi Idelsohn, Leo Levi, Elio Piattelli, Emanuele Pacifici
e. repertoire and praxis after Jewish classical music in Europe on 17th century

The Triennial Course of Jewish Music literature is a Department of the Hub, it focuses on the study of Jewish music phenomenology (related to tradition, creative diversity, artistic ways), it will propose to the Ministerial accreditation and contains two addresses:
a. Research address. History, theoretical, phenomenology and development of the Jewish musical thought;
b. Performance address. Access is allowed to qualified musicians in any musical discipline, the teachers could request an entrance examination; the purpose is also to establish some chamber or voice groups, some hours of praxis should be added to the study plan.

The Study Center of Hazanut in Continental and Mediterranean Europe is a Department of the Hub, it aims to recover and preserve the hazanuth that is the art of cantillation of Hebrew texts created by the Jews around the countries of continental Europe as so as European, African and Asian countries bordering the Mediterranean Sea; the purpose of the Study Center is the retrieval and analysis of phonographic items as so as autograph or anastatic copies of Hebrew liturgical codes in order to restore the heritage of the hazanuth.
The hazanuth developed in the sinagogues during the 14th century; around 1620 the singer or hazan acquired a leading position, a pleasant voice in the eastern sense (tenor voice with a nasal timbre), training in vocal coloratura (the hazanuth is characterized by virtuoso fantasy), versatility and originality of improvising ways and traditional rhythms was requested to him.

The Historical Archive of Composers from Barletta is an advanced project of research, publication, staging and performance of some works written by some composers born in Barletta from the Renaissance to the 20th century that is:
a. Works by Giovanni Leonardo Primavera, Giuseppe Curci, Renato Virgilio;
b. Works by Vincenzo Gallo, Antonio Gallo, Giuseppe Fanciulli;
c. Works by Giovanni Petrucci, Daniele Varola, Raffaella De Nittis, Giuseppe De Leo and others.
Further items by composers from Barletta, Oreste Gardini, Roberto Curci, Giuseppe Mascia, Emanuele D'Abundo, Sebastiano Gazia, Michael Gissing, Ettore Pappalettera will be located at the Archive.

Multimedia Music Library
Library, Sound Archives, Video Library, Newspaper Library Music
Thesaurus Musicae Concentrationariae, research and editorial production Staff Berto Boccosi Music Archive As a summa of concentrationary music research, the Multimedia Music Library will cover an area of ​​approx. 2,720 square meters ​​and will contain the items of the ILMC Foundation, which consist of:
• 8,000 scores;
• 12,000 documents concerning music created in captivity (microfilms, prison diaries and musicbooks, mechanographic recordings on audiotape and videotape, vinyl records currently under burning);
• 1,300 volumes of scientific and theoretical literature on the matter, publications and essays;
• 200 hours of interviews to survived players and composers.
The Music Library consists of wide reading and consultation rooms, departments of autographs analysis, research locations and guesthouse, it will provide all the services of non–fiction and documentary and will host publishing work, conferences and meetings with culture and art people; manuscripts and documentation items will be produced in accessible formats.
The Sound Archives will contain the CD–Encyclopedia KZ Musik and other recording items.
The Video Library will contain footage shooting by film crews from Third Reich, Red Cross and Allied troops about the musical activity in the Camps as well as some interviews to survived musicians.
The Encyclopedia Thesaurus Musicae Concentrationariae in 12 volumes and 2 DVD will be published in 2022 in four languages (Italian, English, French, German) and it will be the most advanced stage of research of concentrationary music, work plan as follows:
volumes I, II, III. History and historiography of concentrationary music literature from 1933 to 1953;
volume IV. List and analysis of concentration camps headquarters of musical creative activity from 1933 to 1953;
volumes V, VI, VII. List and biographies of the composers who produced in captivity from 1933 to 1953;
volumes VIII, IX, X, XI. 600 scores written in civil and military captivity from 1933 to 1953;
volume XII. Synoptic tables, analytical index of music both by Camps and Authors, bibliography, discography and filmography, DVD 1 containing recordings of the works published in vols. VIII, IX, X, XI, DVD 2 containing a wide range of interviews to survived musicians.
Around the Thesaurus Musicae Concentrationariae, a research and editorial production Staff of researchers, academics, historians, musicologists and musicians of international standing is operating; among the works already published, the CD–Encyclopedia KZ Musik, Quaderno di Storia concentrazionaria, the album Brundibàr, Fonte di ogni bene [Canti degli ebrei di San Nicandro Garganico], Renato Virgilio [Vita e opere di un musicista], Weihnachtsoratorium by F. Nietzsche, piano reduction and booklet of the opera Misha e i Lupi by F. Lotoro, Antologia Musicale Concentrazionaria.
The Berto Boccosi Music Archive will collect the musical heritage of the Italian composer Berto Boccosi, the items of which the ILMC Foundation has the task of preservation and promotion.
Berto Boccosi was born in Ancona on 1910, 27th of March and died in Falconara on 1985, 27th of March, he was Infantry captain during the Second World War; captured by the Allies during the Campaign of Africa, in 1942 he was transferred to the French POW Camps of Gabes (Tunisia) and Saïda (Algeria).
After the War he continued to compose, among his works La Lettera Scarlatta (partially scored during the captivity in Saïda) and Piccola Rondine, the concerts for piano and orchestra La Fontana Incantata and Concerto di mezzanotte a Venezia, the symphonic works Diario di guerra e prigionia e Diario di Anna Frank, the piano works Rapsodia (scored during the captivity in Gabes) and Sonata Ciclica.

Museum of Regenerated Art
Exhibition of musical manuscripts written both in civil and military captivity Exhibition of musical instruments recovered from the concentration Camps Phonographic Archive The Museum of Regenerated Art will cover an area of ​​approx. 850 square meters and will offer space to the heritage of scores, musicbooks, documents as so as photos, instruments, video and audio items recovered by Francesco Lotoro; it will be as a cultural pole of concentrationary music research able to move to the pleasure of the discovery of an almost unknown art scene.
The Nazism, as a political movement turned to an ideology comprehensive of some cultural and artistic aspects of German society, conceived the expression Entartete Musik (Degenerate Music) similarly to Entartete Kunst (Degenerate Art); modernist musical currents, which were innovative of music language (dodecaphony, jazz, musical) or revolutionary in regard of the symphonic and operatic tradition were branded as Entartete Musik, under censorship of the Reich fell both Jewish composers such as Hanns Eisler, Ernst Krenek, Arnold Schoenberg, Franz Schreker, Kurt Weill and not Jewish composers such as Béla Bartók, Paul Hindemith, Igor Stravinsky, Anton Webern.
The measures of Reichmusikkammer were retroactively applied to Alban Berg (deceased in 1935) or even Felix Mendelssohn–Bartholdy; in 1938, on the occasion of Reichsmusiktage in Düsseldorf an exhibition of Entartete Musik (later replicated in Weimar and Wien) was showed.
Today, less than one century from the monstrous conception of the Degenerate Art, we overthrow this pseudo–artistic vision gained from Reich by means of the inauguration of a Museum of Regenerated Art.
The Museum will promote the knowledge of music written in captivity, will help people to rediscover a whole generation of composers, will organize exhibitions, conferences and study projects in collaboration with cultural institutions, schools, universities; instruments built in captivity or there used as so as photo items related to musicians and music performances in the Camps will be exhibited, some biographical notes, works list, anecdotes concerning each musician will be reported.
In the Museum a huge Phonographic Archive accessible via headphone will be located; some spaces with maxi–screens and seating will be dedicated to the continuous vision of video items for schools and organized groups.

Nuovi Cantieri Theatre
Concert, Symphony and Theatre production Musica Rigenerata Concentrationary Music Festival Long live to life! Youth theatre after the Memory of Arts Nuovi Cantieri Open Outdoor theatre The Nuovi Cantieri Theatre will cover an area of ​​approx. 310 square meters and it will be equipped with 212 seats on two levels, orchestra pit and stage mt. 8x7 located in a scenic tower (former distillation tower) high mt. 17; the Theatre will be mainly dedicated to production, performance and staging of the musical repertoire created in civil and military captivity from 1933 to 1953.
The Theatre will be equipped with audio–video recording area and sheet for film screenings; as a flagship of the Citadel, the outdoor theatre Nuovi Cantieri Open in an covered area of ​​approx. 300 square meters and 150 seats will be established, to be used for conferences and recitals.
Performing and promoting concentrationary music is one of the most important goals of civilization.
This will be the mission of the Theatre; in view to this, Musica Rigenerata Concentrationary Music Festival and the Youth theatre after the Memory of Arts Long life to life! will be organized.
The Theatre will approach anyone to the tragic events of Second World War and humanitarian catastrophes caused by Nazi–fascism and Stalinism never with a commemorative approach but a constructive one; this approach will be able to catch the most moving aspect of the history of the concentration Camps that is the musicians' ability to write in inconceivable situations a peerless Testament of the human intellect and the heart.

International Bookshop of the 20th century Bookshop Educational workshop & Lounge for book presentations The International Bookshop of the 20th century will cover an area of approx. 520 square meters corresponding to the settling basins of the former Distillery with a large editorial, recording and publications offer on concentrationary music as so as on the music production of 20th century, First and Second World War, Cold War, State of Israel, etc., until the contemporary. In the Bookshop an educational workshop for schools and organized groups will be located; the Bookshop will also be useful to conferences and book presentations.


CONTACTS
Fondazione Istituto di Letteratura Musicale Concentrazionaria
via V. Marone 38/C
76121 Barletta
ITALIA

phone +39 0883950639 mob. +39 3402381725
info@fondazioneilmc.it

musicaconcentrazionaria@fastwebnet.it

president Francesco Lotoro
vice–president
Grazia Tiritiello

secretary
Daniele Barchetta

in charge of archives
Paolo Candido

in charge of administration
Roberto Piccolo

in charge of museum
Ermanno Tedeschi

foreign delegates
Alexandre Valenti
Robert Dahlan Foah

In order to support the ILMC Foundation in the works of construction and operating of the Citadel, everyone is invited to make a donation to the following bank account:
IBAN IT34 C033 5901 6001 0000 0103 682
BIC/SWIFT CODE BCITITMX
titled to: ISTITUTO DI LETTERATURA MUSICALE CONCENTRAZIONARIA
bank:
BANCA PROSSIMA – FILIALE 05000
PIAZZA PAOLO FERRARI, 10 20121 MILANO
For donations from U.S.A. and Canada, please contact Mythic Imagination Company, Inc, on the website:
www.mythicimagination.org

For donations by Paypal: http://mythicimagination.org/main/donate/