The introduction places A Survivor from Warsaw in the culture of early American Holocaust memorials and then situates its subsequent performance and reception history in postwar Europe using Marita Krauss's theory of remigrating ideas and Stephen Greenblatt's notion of cultural mobility while acknowledging the human agency of dedicated performers and other advocates. It also provides a basic overview of the text and music and briefly recounts premieres in the United States (Albuquerque, under Kurt Frederick) and Europe (Paris, under René Leibowtiz). It lays out the basic lines of inquiry for each case study, which include the identities assigned to Schoenberg in the discourse that accompanied A Survivor (variously American, Austrian, Viennese, German, Jewish, antifascist, modernist); the apparatuses of political power; and the roles of modernist music and of Jewishness before, during, and after the war in each context. Radio and the circuit of international festivals of new music are the primary means of circulation for the piece.
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