The article Concerts of the band Free Jazz Trio from 1972 to 2012 summarizes and comments on major concerts and music festivals, where Olomouc jazz band during its existence appeared. This article is based primarily on written notes by Free Jazz Trio's drummer Petr Večeřa. The author also created a detailed eletronic database of band's concerts based on these notes. Selected performances are categorized according to their nature into three groups - music festivals, club gigs and appearances at vernissages. Most of the attention is devoted to significant Czech jazz festivals, where the band regularly participated (e.g. Olomoucké jazzové dny, Pražské jazzové dny, Slánské jazzová dny and Národní amatérský jazzový festival).

Ilja Zeljenka (1932-2007) set the tragic poem of Mikuláš Kováč called Osvienčim in cantata in 1960. It was during this period that vocal music in Slovakia was particularly closely connected with socialist realism. As it turned out, the composer stands out from this context, and the cantata Osvienčim is, in a way, an expression of defiance against the official mainstream. Zeljenka chose compositional means oscillating between the tradition and the current Western avant-garde to set the work to music, which contradicted Ždanov's doctrine and the principles of the aesthetics of socialist realism. The Czechoslovak premiere of Zeljenka's work could not take place until 1964, when the situation in the country began to loosen up very gradually, and when it was successful at the UNESCO International Composition Competition in Paris. Despite the fact that the cantata Osvienčim comes from Zeljenka's early work, it has an extraordinary position in the whole of his compositional activity. In the analysis of the composition, it is possible to state the composer's interconnection of innovative elements with conventional ones. By comparing the work with the fundamental thematically related "anti-fascist" cantata works of the Western avant-garde of the 1950s, Il canto sospeso by Luigi Nono and A Survivor from Warsaw by Arnold Schönberg, certain compositional analogies were found. Between Nono's Il canto sospeso and Osvienčim, we notice many similarities in the handling of the vocal component and in the specific use of the color of the human voice. Zeljenka also works with the so-called Sprachkomposition. The composer's inspiration in Schönberg's music was mainly inspired by the instrumental component. However, Ilja Zeljenka did not create an epigonic work. It deliberately does not create a series composition, it often connects impressive timbre areas with traditional principles. Osvienčim is the work of a mature composer with his own musical language, which tends to combine stylistically heterogeneous elements, which is why it was later referred to as the "visionary harbinger of postmodernism."

Even though the Communist Party bodies in charge of governmental cultural policy in the period of so-called normalization restricted and liquidated rock music systematically, rock music life did not fully cease to exist. This in substantiated by the history of the WSS music band (Water-Supply Spectres) from Olomouc which succeeded in surviving for nearly nine years in the 1970s, the most critical period of the repressions enforced. The music band was established in December 1970. It broke up based on an intervention by State Security at the promoter of the band, which was the Socialist Youth Organization, basic unit 27, at the beginning of the year 1979. The artistic development of the band, in which Emil Pospíšil, an republic-wide known rock and folk guitar player, or Petr Večeřa, a member of the important Moravian jazz band Free Jazz Trio, started their careers, can be divided into two stages. In the first stage of its existence, the band performed at dance parties around Olomouc, playing the repertoire with musical pieces by geniuses of world hard rock, such as Led Zeppelin, Deep Purple, or Black Sabbath. Around 1975, WSS focused on jazz rock represented worldwide by the ensembles of Mahavishnu Orchestra type. WSS went down to the cultural history of Olomouc not only by their music activity, but also by their relation to Czech non-official culture and underground.

The study focuses on newly found sources documenting the financing of the liturgical and musical practice of the Silesian pilgrimage church of the Assumption of the Virgin Mary in Hrabyně. It focuses on the heyday of Hrabyně in the 18th century, when the estate belonged to the Mitrovsky family, as well as on the establishment of foundations and the role of patrons. Financial donations and foundations not only ensured the activities of the chaplain and teacher, but also enabled the purchase of new musical instruments and the construction of an organ. No less important was the introduction of Marian devotions in front of the image of Our Lady of Hrabyně, during which the Salve Regina was sung at the donor's request by six boys in the Czech language accompanied by the organ. The paper aims to highlight one of the aspects connected with the musical-liturgical practice of the pilgrimage site and thus lay a foundation for further research on the musical events of Silesian and Moravian pilgrimage sites.

This study considered how music affects social capital within Istanbul's social fabric. Taking into account Istanbul's specific socio-cultural structure and research on the social outcomes of music participation, we developed a set of potential mechanisms through which personal social networks, thick ties, particularized ties and trust, and generalized trust might be affected by concert attendance at free concerts in the Istanbul district of Üsküdar. This article focuses on statistical analysis of audience survey results. The concerts proved to be lively social environments, and all types of social capital seemed to benefit from concert attendance, although outcomes depended especially on the genre of music.

Although the subject of the Przemyśl Fortress has been incessantly popular for years, little space has been devoted so far to the merging of power and entertainment, whereas for the distribution of power the culture of leisure and its development was vital; developing appropriate habits and tastes as well as promoting appropriate (from the point of view of the authorities) forms of spending free time was by no means neutral in terms of content and form. The article discusses the relations between the Przemyśl garrison under Commandant Anton von Galgótzy (i. e., between 1891 and 1905) and the local civilians. Galgótzy used specific practices, abusing his power, compared with the commandants of other garrison towns. Concerts of military bands were supposed to warm up his image of an all-powerful general and, through appropriately selected repertoire, develop loyalty towards the Imperial-Royal Monarchy on its outskirts.

The Olomouc opera stage (as was, after all, true for all of those in Austria) was part of a network of provincial theatres, characterised by constant changes in membership. It was typical that, following the end of a season, theatre director would go to Vienna and other larger cultural centres to seek new talented singers. Another decisive factor in getting a contract was the successfulness of the artists' guest performances throughout the season. For small theatres, it was advantageous to establish contracts mainly with talented newcomers who had lower demands in terms of their salaries. Operating a successful theatre business was largely connected with the ability of directors to recognise the latent abilities of inexperienced singers. During certain periods, the German municipal theatre in Olomouc was a seedbed of future stars, helping kick off their glamorous careers. However, national disputes, the hostility of city council members, fires, and epidemics as well as the fickle tastes of the audience could thwart the efforts of even the most experienced theatre entrepreneur and make them decide to try their chances elsewhere. The aim of this paper is to document, through several examples of singers or directors, the usual direction of artistic mobility in Central Europe in the 19th and early 20th century.

Greek art music has made a significant and enduring contribution to the symphonic genre within European art music, serving not only as a site of stylistic development but also as a repository of cultural memory. Since the 18th century, beginning with Michele Stratico's (1728-1783) thirty-five (35) sinfonias, Greek composers have engaged in a continuous dialogue with the symphonic form, each work echoing both contemporary influences and inherited legacies. This evolving tradition - passed from generation to generation - embodies not merely musical innovation but also the collective memory of a nation navigating modernity, exile, identity, and continuity. Key figures such as Nikolaos Chalikiopoulos-Mantzaros (1795-1872), with twenty (20) sinfonias, and later Alkis Panagiotopoulos (1950) and Athanasios Simoglou (1954), each with ten (10) symphonies, contribute to a sonic lineage in which memory is not just thematic but structural - embedded in forms, modes, and motives. Petros Petridis (1892-1977), Dimitris Dragatakis (1914-2001), Mikis Theodorakis (1925-2021), Dinos Constantinides (1929-2021), and Dimitris Themelis (1931-2017) each composed six (6) symphonies, acts of remembrance as much as composition, often drawing on national, historical, or personal pasts. The lifespans and works of Giannis A. Papaioannou (1910-1989), Christos Samaras (1956), and Stelios Coucounaras (1936) (each with five symphonies) mark successive stages in a shared memoryscape, demonstrating the genre's increasing weight in Greek musical culture as both a formal discipline and a vessel for cultural reflection.

Pest-Buda already had two permanent ensembles during the 1830s - the Táborszky and the Szervacinszky quartets; in the 1850s, ambitious programs, explicitly labeled as "quartet concerts," were performed by the short-lived Ridley-Kohne quartet. However, it was only in 1876, that the first Budapest-based quartet was founded that remained stable for the years to come. Although this ensemble, which was led by Dragomir Krančević and disposed of an excellent playing technique, was referred to in the press as the "Budapest quartet," only the second violinist was of Hungarian origin and native of Pest. The case of the Hubay-Popper quartet - established ten years later, in 1886 - was quite similar: of its members, Jenő Hubay was only the one to be born and having studied in this city. In this paper, I will present the press reception of the two latter quartets, focusing on the following issues: How did a biased discourse emerge in the Hungarian press that made a clear distinction between the "German" and the "other" (e. g., French or Hungarian) manners of playing? What was the role played by the performers' national origin, the influence of their teachers and of the schools they attended? How did the press reviews treat these aspects? How did the repertoire of these quartets evolve during this period, and was there any connection with the prejudices suggested by the press?

When he was asked to write the inaugural opera for the 1868 opening of the Czech National Theater, Smetana was an established leader in the Czech community of Prague. His opera Bartered Bride had achieved remarkable success. As opera conductor of the Provisional Theater, he produced contemporary operas, including French grand opera in a theater so small that it once fit within the architectural space now occupied by the stage of the National Theater. For his opera Dalibor, he drew on his intensive experience as a composer, conductor, and performer of a wide repertory of the music of his time. Through his friendship with Liszt, he was able to study that composer's Faust and Tasso, as well Wagner's Tannhaüser. His excellent compositional technique enabled him to create theatrically remarkable music that is also analytically significant. For example, the rigorous prison music, based on principles of Baroque polyphony, literally demonstrates the restrictions of imprisonment; its musical material is transformed in lyrical passages of emotion and transcendent love. Smetana's remarkable ingenuity seamlessly binds these diverse elements, by continually adapting his own version of the characteristic motive to the given dramatic context. This hybrid form also enables us to trace the impact of Antonín Reicha's expansion of Baroque polyphonic techniques on the music of Smetana's predecessors, as well as on twentieth century modernism.

Since 2014, the work of Ukrainian composers has held a mirror up to the events of the Russo-Ukrainian war. A piece from early 2014 by contemporary composer Olena Lys is considered in this article. The piece begins with the composer's reflection on the events of Maidan in winter 2014 in the form of a choral diptych based on Vasyl Dovzhyk's poem "By the Stairs to Heaven…". In its two parts, it illustrates the death of the Maidan defenders (in the first part) and the mother's prayers for her dead son (in the second part). The present article focuses on a semantic analysis of Ukrainian symbols in both the libretto and the musical text, ultimately suggesting that Olena Lys and Vasyl Dovzhyk do not reconstruct the past: they comprehend the spiritual values of the Ukrainian people in the contemporary context in a new way.

The discovery of the Manuscript of Dvůr Králové and the Manuscript of Zelená Hora in the Czech lands at the beginning of the nineteenth century aroused great interest among the Polish intellectual and artistic elite, provoking discussions on the prehistory of Slavonic culture and generating numerous more or less faithful Polish translations of the texts included in manuscripts. This article addresses the problem of the musical reception of both forgeries in Poland, which is far more modest than the Polish literary works inspired by the two Czech forgeries or the historical studies addressing the issues outlined in them. To the modest list of composers using the texts from the two manuscripts in their musical works - which so far includes only Władysław Żeleński and Ewa Fabiańska-Jelińska - we should add Witold Lutosławski, thanks to recent research on his works for radio theatre. Among the pieces composed by Lutosławski for a radio play Legenda o Walgierzu Wdałym (The Legend of Walgierz Wdały) with text by Stanisław Nadzin, broadcast on Polish Radio in 1946, a fragment of the Libussa's Judgement performed by one of the play's protagonists has recently been found. This article contains the most important information about the plot and musical setting of the radio play, as well as analysing the vocal excerpts using the Polish translation of the Libussa's Judgement.

This article presents a hermeneutic and analytical study of Nikos Skalkottas's Sixteen Songs (1941), focusing particularly on the first song of the cycle. After an outline of Skalkottas's biography and cultural context, the work explores the complex interplay between poetic text, musical rhetoric, and dramaturgical structure within the song cycle, emphasizing their roots in both Greek tradition and European modernism. Employing tools of topical, textual, and serial analysis, the study demonstrates how Skalkottas fuses dodecaphonic techniques with references to folk music, popular contemporary dances, and rhetorical devices, creating a unique and ironic sound world that transcends the boundaries of tonality, atonality, and genre. The article highlights the cycle's oscillation between lyrical and agitato moments, its dense web of literary and musical topoi, and the innovative handling of form and voice. In addition to presenting a detailed analysis of the first song - including its motivic, harmonic, and structural features - the article provides new English translations of the cycle's lyrics and offers a broader dramaturgical and interpretive perspective on the work as a whole. By considering the technical, symbolist, and expressive dimensions together, the study situates Skalkottas's songs as a singular synthesis of tradition and avant-garde, urging greater recognition of their artistic quality and significance for both Greek and international repertoire. Nikos Skalkottas; Hermeneutic analysis; Sixteen Songs (1941); Musical rhetoric; Musical dramaturgy

The poem "Expectance" was written by Serbian author Mirjana Stefanović (1939-2021) and was published in 1967 in the collection Spring in Terazije. Almost sixty years later, young composer Ivana Govorčin brought these verses to life musically by using, among other things, marked sound signifiers which direct the listener's attention to the key points of the narrative flow. The starting point of analysis is the poem itself, in which elements such as a humorous-ironic attitude towards life, stylistic figures of gradation and contrast, issues of borders, motifs of time and transience, and the finality of life are highlighted. This paper will point out the sound configurations which the composer uses as amplifiers of these elements and marked parts within the text, playing with their sound and semantic potential. For this purpose, the semiotic theory will be used to show how music acts "through" and thus "for" the narrative.

Shakespeare is one of the European writers most frequently set to music. In the 18th century, he became the prototype of a genius, who rose to the position of a model of a creative artist and a free man due to the violation of all the rules of Aristotelian poetics. In Leipzig, the city of the Enlightenment, Goethe was already confronted with such a refined image of man, and this tradition determined the atmosphere of the city until Zdeněk Fibich studied there. The operas he composed generally receive little attention. In choice of theme, they are only exceptionally - as in the case of the opera Šárka - connected with a Czech national myth; in other cases they follow classic European works, such as Schiller's The Bride of Messina and Shakespeare's The Tempest. Fibich composed Bouře [The Tempest] in 1893/94 to a libretto by Jaroslav Vrchlický (the pseudonym of Emil Jakub Frída), and the première took place on 1 March 1895 in Prague. This article attempts to outline the spiritual and musical-historical background of the work.

The study explores different instrumental dialogues that experimented in Harbison's String Quartet No. 4 (2001). Harbison imagines each instrument as an operatic character in the composition. The musical dialogues are presented in different fashions, including between two or more instruments in either confrontation, or with agreeable manners. The piece significantly displays Harbison creatively reintroducing the late 18th century musical dialogue fashion in a new way. Not only is Mozart's and Bach's music the main source of inspiration for Harbison, but also stresses of the off-beats and syncopated jazz fashion are at times heard in the fugal-like imitation passages.

The following study focuses on cultural transfer and the formation of theatre networks between the towns of Olomouc and Pressburg in the latter half of the nineteenth century. At that time, German-speaking theatre directors, namely Ignacz Czernitz and Emanuel Raul, worked in the municipal theatres of both these provincial towns. Their artistic activities in these two theatres share several features. What differed was the relationship of the urban elite (mainly members of the municipal council, the local press, and cultural societies) and their support of the director. Another important factor for the success of a theatre enterprise was the attractiveness of the theatre building, which decreased with its growing wear and tear. This manifested itself most prominently in the activities of Emanuel Raul, who encountered major financial difficulties in the fifty-year-old Olomouc theatre, whereas he was highly successful in the newly erected theatre in Pressburg.

This article examines the representation of Ukrainian music abroad through an analysis of programming in French musical institutions since 2022. Numerous concerts featuring Ukrainian compositions have occurred in France, signifying a renewed interest in, and at times a novel encounter with, this repertoire since the onset of Russia's full-scale invasion. We explored how two leading Parisian musical institutions, the Philharmonie de Paris and the Opéra National de Paris, have supported Ukraine, both symbolically and practically. Further, we analysed how the selected works, chosen to represent Ukrainian cultural identity on European musical stages, have been framed as part of a shared European heritage, thus demonstrating the role of music as a form of soft power in the current wartime context. Finally, we considered the 1991 Project, an initiative led by Anna Stavychenko that supports Ukrainian musicians and strives to preserve Ukrainian musical heritage. In this context, Ukrainian music emerges as a resilient force and a symbol of resistance within the European cultural sphere.

The paper discusses the importance of micro-historiography in music history research, which involves studying the everyday lives of individuals and events to uncover forgotten details and gaps in traditional historical approaches. Reading the main source, the daily Pest-Ofner Localblatt und Landbote it is especially important to emphasize the significance of shorter news, reports, and advertisements in newspapers as valuable sources of information for reconstructing everyday musical life in Pest-Buda. The Pest-Ofner Localblatt und Landbote mentions several guest performers on the stages of Pest-Buda, including the visits of traveling national or folk companies, the performances of the successful Spanish folk dance company at the National Theater in Pest, the tour of the popular Tyrolean folk music company for several months, the supposedly Viennese singing company, marked by the names of Mutzbauer, Honetz, and Lasky, which clearly represented the Wienerlied repertoire on the stage of popular cafés, the guest performances of singer Babette (Betty) Gundy, or Sigismund Thalberg's student, the pianist Rosa Kastner. The present paper also discusses the sources that can be used to list the guest performers, such as the surviving archive material of the National Theater in Pest, the theatre pocket books of German theaters, and the period's press, especially the Pesth-Ofner Localblatt und Landbote. By studying the lives of everyday individuals and the events of everyday life, researchers can uncover information that may have been overlooked or ignored by traditional historical approaches. In the context of music history, micro-historiography can help to shed light on the functioning of an entire city or region, as well as the structure of musical life from a variety of perspectives. It can also help to reveal the realities of everyday musical life, including the network of contacts through which musicians could reach their audience, and how this was reflected in the period's sources.

Géza Zichy (1849-1924) was prominent in artistic and social life in Hungary and Central Europe in the last third of 19th century and the early part of the 20th century. As an aristocrat he belonged to the social elite of the monarchy, as a one-handed pianist he aroused the enthusiasm of European audiences (he gave performances not only in Austria-Hungary, but also in Germany, France, Denmark, Switzerland, the Netherlands, Italy, Sweden, Norway, and in Russia). Later he established himself as a conductor and also as a composer - at the beginnig of his career he wrote several shorter pieces for left hand - his own compositions and some adaptations were written by him because of the entire lack of the left-handed repertory. Later he composed also orchestral pieces, vocal works (Cantatas, choral and orchestral ) and operas (between 1896-1912 he wrote 5 operas), whereby he stayed faithful to the principles of romanticism. This strong affinity to romanticism was formed not only by his personal preferences, but also by his teachers R. Volkmann and F. Liszt. The aim of this study is to briefly evaluate Zichy's work through the analyse of some piano, orchestral and operatic compositions and put it into the context of central European music.

Richard Taruskin describes the German choral movement as the hotbed of German nationalist unification, the musical precursor of a new nation-building ideology. However, the Liedertafel movement did not stop in Germany, but spread to the whole of Europe, practically without exception the founding of choirs had a national-political dimension, including Hungary. It is interesting to examine how nationalism overtones could take hold in the multiethnical Hungary, especially in the German-dominated cities. Sopron is an excellent case study, since this town, which lies in the western corner of the country, bordering Austria, had a large part of German population, and as a consequence had a German theatre and German speaking press. Christian Altdörfer, the choirmaster of the Lutheran church and founder of the Dalfüzér/Liederkranz, came from Württemberg to set up a singing group in the 1840s that sang in both German and Hungarian. This situation gives us an opportunity to examine how the association saw itself and how others saw it, and in doing so to highlight what national identity meant in mid-19th-century Hungary.

Of all the operas by Ferenc Erkel, we know the most about Erkel's efforts to present abroad his second opera Hunyadi László, while the absence of similar data concerning the other operas may be the result of the fact that the composer himself and/or the National Theatre did not even try to have them performed outside of Hungary. For Erkel's first two operas - Bátori Mária (1840) and Hunyadi László (1844) -, the National Theatre had a German-language score prepared after the premiere, and Franz Liszt, among others, tried to promote the premiere of Hunyadi László, which ultimately became one of the most performed Hungarian operas abroad. After Ferenc Bónis, Dezső Legánÿ, Katalin Szerző Szőnyi, and Inge Birkin-Feichtinger, who have already published on this negative performance history, this study would like to highlight a few minor details that contrast with our previous perception of Erkel's lack of interest in the distribution of his operas outside of the Hungarian capital's National Theatre. Through the performance history of Hunyadi László, and by taking into account the performance copies surviving from the period as well as the contemporary press, we get an insight into the moves and changes that occurred within the theatrical/opera companies during the second half of the 19th-century as well.

The paper is focusing on historical particularities in close connection with spaces described in terms of geospatial mapping, as enduring places (as recognizable dots on maps). At the same time, different dynamics are to be reckoned with; as such, the once existing stone theatre building in Cluj is considered as a stock of functions and forms tied to processes of the past and the present. On the one hand a geospatial mapping highlights the spatial spreading of Hungarian acting against the backdrop of the ethnically mixed population of the so-called theatre towns in the second half of the 19th century. On the other hand, given the network of theatre scenes established as a consequence of touring companies, the particularity of the theatre in Cluj as it appears, it may be best described by taking into account institutional and artistic perspectives. A parallel between quantitative and qualitative dimensions presents the necessary intertwining of the structural determination (i. e., the theatre as a network element) and artistic career.

The collection of folk songs organized in 1819 in Vienna, in our environment called the governorate, in Austria Sonnleithner's, is the first known centrally organized collection in Europe. The fact that the collection covered lyrics, songs, and melodies of folk dances was a unique feature. The official result of the collection in Bohemia was the so-called Kolovrat manuscript (1823), the unofficial one was the printed collection of Czech and German lyrics and songs called Rittersberk's (1825). Gradually, however, in total 9 sources were identified, representing more than a thousand writing units of folk songs and dance tunes from Bohemia.

While in the European countries outside the Eastern Bloc popular music was usually primarily classified on the basis of style or genre identity, Czechoslovak popular music was primarily divided into the categories of official and unofficial (or illegal) music. In the paper, progressive rock and its social functions is reflected through this prism. With regard to the above-mentioned facts, the article discusses the major trends of Czechoslovak progressive rock in the '70s. It includes folklore-based progressive rock (the album Odyssea, recorded 1969), progressive rock inspired by the Czech tradition of big band music (Nová syntéza, 1971) or progressive rock and poetry (Kuře v hodinkách, 1972).

The study examines the forms of institutionalized popularization of Anglo-American rock in the context of Brno music clubs at the time of normalization (1969-1989). Based on unpublished sources and oral historical research, the text shows the specifics of the rock scene in the south Moravian region, while contradicting the dominant interpretation of the history of rock music behind the Iron Curtain primarily as a political force.

After receiving his diploma from the Schola Cantorum in 1908, Satie embarked on a series of large-scale instrumental and vocal works. These ambitious compositions all utilize innovative intervallic and key relationships that partly derive from earlier cyclical techniques of the late 18th and 19th centuries. This article presents an analysis of the cyclical tendencies in the later music of Erik Satie.

The Kounitz family archive, housed in the Moravian Provincial Archive, contains a very extensive fund of correspondence with Wenzel Anton of Kounitz-Rietberg, consisting of interesting sets of letters with various personalities of his time. A set of letters by the Italian poet and librettist Ranieri Calzabigi, which is stored here, represents almost the complete surviving correspondence of both persons. Two other letters are stored in another folder of the same archive, and one letter is stored for unknown reasons in the Morgan Library and Museum in New York. We also know of the existence of one letter from Kounitz to Calzabigi, which has survived only in its published form, and a draft of one of Kounitz's replies is also part of the Grosse Korrespondenz collections of the Austrian State Archives. The correspondence thus assembled, comprising over 300 folios of manuscripts mostly in French and partly in Italian (49 letters and 16 enclosures in total), is a very valuable source of information for 18^th century cultural history and is now the subject of a modern edition supplemented by English translations of the originals. The surviving correspondence consists mainly of letters from Calzabigi to Kounic, which can be divided into three time periods, among which no letters have survived: ca 1764-1775, 1780-1784 and 1789-1791. The letters written while both were in Vienna are more technical in content, relating to the operations of the French theatre in Vienna and to lotteries. After Calzabigi's departure for Italy in 1774, the letters become a very comprehensive glossary of contemporary events, in which the writer draws Kounitz's attention with information about musical theatre or the visual arts, but does not neglect to comment onthe broader interests of both protagonists. This correspondence thus becomes an invaluable source of information about contemporary events not only in Italy.

Although Ilse Weber's compositions have become central to the "Terezín canon", very few of her musical manuscripts are available. My study argues that the lack of sources actually serves Weber's popularity, as her Terezín songs can be tailored to the needs of individual performers to represent manifold notions of Terezín. Furthermore, my research juxtaposes Terezín's current status as a memorial site with its original function as a "Potemkin Village." Considering that much of the complexity of Terezín's original soundscape has been ignored or suppressed, I argue that it has become a simplified mirror image of the "model ghetto" it originally was.