For 80 years, the haunting melodies of Auschwitz lay buried, hidden among the archives of one of history’s darkest chapters. Now, thanks to the tireless efforts of British composer Leo Geyer, this music—composed by prisoners—will be heard again. A new documentary, titled The Lost Music of Auschwitz, chronicles Geyer’s remarkable ten-year mission to reconstruct musical manuscripts discovered within the Auschwitz-Birkenau Museum. This film coincides with the 80th anniversary of the liberation of the concentration camp from the Nazis, marking not only the resilience of music but also the enduring grief of its origin.
Auschwitz was the site of unimaginable horror, where over one million people were killed during the Holocaust. Yet within its confines, music played a multifaceted role. Composed under duress, these melodies provided entertainment for SS officers, served as clandestine expressions of resistance, and captured the complex human emotions of survival.
Geyer’s connection to the lost archive began unexpectedly during what was meant to be a research trip. Originally commissioned to write music honoring Holocaust historian Sir Martin Gilbert, he did not anticipate finding anything significant. “I wasn’t expecting to discover anything other than a greater knowledge of the Holocaust, particularly as I’m not Jewish, Polish, Romani, or descended from any other group who perished there,” Geyer told The Independent. A chance conversation with an archivist unlocked the archive’s secrets: “He said, almost offhand, there’s music buried in the depths.” Intrigued, Geyer returned to explore the manuscripts, quickly realizing there was more than he had initially thought.
Determined to reconstruct these musical fragments, Geyer admits the process has been both challenging and rewarding. He found many of the scores were damaged or too faint to read, yet he and his team worked painstakingly to piece together these works. “It transpired there was actually a lot,” he stated, reflecting on the authenticity and emotional weight of the manuscripts.
The music’s role within the camp was complex. The orchestras of Auschwitz—comprised of prisoners—often performed for the guards, receiving slightly improved rations as part of their unjust modus operandi. Geyer noted, “Most people are incredibly surprised there were orchestras at Auschwitz. Once people have reconciled with this fact, they often hope the music performed was sorrowful, somehow reflecting the history.” Yet the reality contrasts sharply: “Most of the music was incredibly jolly and very happy,” he explains, highlighting how such tunes often accompanied the horrors of Nazi celebrations.
Among the performers was Anita Lasker-Wallfisch, the last remaining member of the Auschwitz orchestras, who voiced her frustration over the delayed discovery of the lost compositions. Geyer shared her bittersweet feelings: “She expressed her frustration it had taken 80 years for this music to come to light and lamented not having the chance to share it with her colleagues.”
This poignant rediscovery of Auschwitz's music transcends simple performance; it reflects the resilience and spirit of those who endured unimaginable suffering. Geyer's film features not only stunning performances of the recovered pieces but also interviews with surviving musicians, each providing insight on how music served as both comfort and defiance.
Interestingly, the documentary also contrasts the facade of joyful music with the grim realities experienced by those within the camp. Survivor Leon Greenman recounted powerful anecdotes of how officers used music to signal labor shifts, underscoring the dark interplay between orchestrated entertainment and grim survival. “When we heard the music, we knew we were going to work. What’s going to happen today? Will we ever get back?”
Geyer emphasizes the unique experience of bringing this music to life: “We performed the pieces from memory. This forced us to learn the music at a new level, allowing us to infuse it with our own emotional resonance. It felt like we owned it.” This approach ensured each performance echoed with authenticity, honoring the memories of those who suffered and celebrated within the confines of the camp.
Despite its somber origins, the music of Auschwitz is presented not solely as sorrowful but as a reflection of the indomitable spirit of its creators. The documentary showcases these performances, contributing to the broader conversation about memory, history, and the role of art amid trauma. The Lost Music of Auschwitz will air on January 20 at 9 PM on Sky Arts, providing audiences with the chance to reconnect with the lost echoes of humanity captured within these haunting melodies.