Sandor (Shony) Alex Braun Born Cristuru-Secuiesc, Romania, 1930 Shony was born to religious Jewish parents in a small Transylvanian city. He began to learn the violin at age 5. His town was occupied by Hungary in 1940 and by Germany in 1944. In May 1944, he was deported to the Auschwitz camp in Poland. He was transferred to the Natzweiler camp system in France and then to Dachau, where he was liberated by U.S. troops in April 1945. In 1950, he emigrated to the U.S., and became a composer and a professional violinist. |
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Gypsy Festival #5001
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Continental Varieties #5002
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Romantic Moods #5003
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Sharika #5004
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A Touch of Love #5005
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World of Music
#5006 LP Impromptu Records ST-1016
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Forever My Love
#5007
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Love, Passion, Fire
#5008
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Shalom #5009
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From Shony With Love
#5010
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Live in
Concert #5011 Symphony of the Holocaust
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__________ United States Holocaust Memorial Museum - Collections Describes playing the violin for SS guards in Dachau. The two prisoners before him had been killed. [1990 interview] When I got out of the barrack, I figured when my turn comes to play, I'm gonna play which I feel comfortable. I'm gonna play either a sonatina by Dvorak, which I performed, in fact, later I performed in Radio Munich, but which...or I'm gonna play, uh, a Kreisler composition. But when, when I saw what I saw, and the violin in my hand, my mind went completely blank. Nothing came to me. And I said to myself, "God, how is it that sonatina starts? How is, how is, how is the, the Kreisler piece starts? My God, how, how does anything starts?" I couldn't think of anything. And now I noticed, from the corner of my eyes, that the murderer Kapo picked up his iron pipe again and was walking toward me. And I knew I'm gonna be killed. I knew it. So my right hand and my left hand all of a sudden started moving in perfect harmony. And the Strauss Blue Danube was heard coming out of my violin. Now, how? I never thought of the Blue Danube. Never. I heard it, in fact, I, I am even, hate to admit to you, I never even played it really. I heard it many times from the Gypsies, and my brother, who was a fantastic accordionist in his high school group. But playing, I was not even allowed to play anything else but classical. And the Kapo looked at, eagerly, to, to the SS, "When shall I whack him? When shall I hit him?" Instead, the SS guard was humming the melody, and was beating the rhythm with his fingers--like 1, 2, 3, 1, 2, 3. And he, he just smiled and, "Let him live." |
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Describes how music gave him the
strength to survive while imprisoned in concentration camps [1992 interview] The Symphony of the Holocaust, the melodies came to me while in con...concentration camp, and here is another thing that probably helped survive bes...beside God's will. Because when I got that despondent, that terrible low, that I was about to touch the, uh, barbed wire, I would say to myself first, "Why don't you, why don't you just play, in quotation, meaning play, goes through in your head. "Why don't you just play that movement which you just learned from before you were taken, Mendelssohn's Violin Concerto. Let's see if you can rem...remember." That gave me strength. I went through, while I was hitting the wood with the hammer, or I was, uh, lifting the heavy things which I really couldn't lift, but I lifted because there is a will to lift, you know, that stone, the salt stone. Some of them they were dynamiting, you know, and they were not telling us in time, so they killed many, many of us. But at any rate, so that gave me also an incentive to live. So this is how it started, and then another concentration camp, which, where I went, different melodies came to me. I couldn't write it down, but it came over and over and over, and when I had a chance I wrote it down, but only about five or six years ago that I completed it in a form of a symphony. |