Zofia Czajkowska

Zofia Czajkowska (4 August 1905, Tarnów – April 1978, Tarnów) was a Polish musician chosen to be the first conductor of the Women's Orchestra of Auschwitz.^[1]^[2]

Czajkowska had been a music teacher, prior to her arrest as a political prisoner.^[3] According to Susan Eischeid, author of The Truth about Fania Fénelon and the Women’s Orchestra of Auschwitz-Birkenau. Czajkowska was regarded by many as an "unexceptional musician", which caused problems with the development of the orchestra.^[4] Like the other musicians in the orchestra, Czajkowska was a captive, whose service in the orchestra helped prevent them from being murdered. In July 1943 Alma Rosé, a talented musician, and niece of Gustav Mahler, arrived in the camp and took over leading the orchestra.^[1]^[2] Czajkowska served as Rosé's lieutenant.^[3]

References[edit]

^ ^a ^b Susan Eischeid (2016). The Truth about Fania Fénelon and the Women's Orchestra of Auschwitz-Birkenau. Springer. pp. 18, 34, 57. ISBN 9783319310381. Retrieved 7 December 2019. Survivor Helen Tichauer, who worked in the Camp Office and also played mandolin in the camp orchestra, questions whether this incident could have happened.
^ ^a ^b "Zofia Czajkowska". Musique et Shoah. Retrieved 8 December 2019.
^ ^a ^b Birte Hundhammer (2007). "Funktionen von Lagerorchestern am Beispiel des Frauenorchesters Auschwitz-Birkenau" [Functions of camp orchestras on the example of the women's orchestra Auschwitz-Birkenau]. Hausarbeit (in German). Retrieved 8 December 2019. Zu den ersten Frauen, die sich meldeten, gehörte die seit einem Jahr inhaftierte politische Gefangene Zofia Czajkowska, die zuvor in ihrem Heimatland Polen als Musik- und Gesangslehrerin tätig gewesen war.
^ Brown, Kellie D. (2020). The sound of hope: music as solace, resistance and salvation during the Holocaust and World War II. McFarland. p. 44. ISBN 978-1476670560. Regardless, all seem to agree that Zofia Czajkowska proved an unexceptional musician, which limited the progress of the orchestra.

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[Orchestra-1] Susan Eischeid (2016). The Truth about Fania Fénelon and the Women's Orchestra of Auschwitz-Birkenau. Springer. pp. 18, 34, 57. ISBN 9783319310381. Retrieved 7 December 2019. Survivor Helen Tichauer, who worked in the Camp Office and also played mandolin in the camp orchestra, questions whether this incident could have happened.

[holocaustmusicCzajkowska-2] "Zofia Czajkowska". Musique et Shoah. Retrieved 8 December 2019.

[Grin2007-3] Birte Hundhammer (2007). "Funktionen von Lagerorchestern am Beispiel des Frauenorchesters Auschwitz-Birkenau" [Functions of camp orchestras on the example of the women's orchestra Auschwitz-Birkenau]. Hausarbeit (in German). Retrieved 8 December 2019. Zu den ersten Frauen, die sich meldeten, gehörte die seit einem Jahr inhaftierte politische Gefangene Zofia Czajkowska, die zuvor in ihrem Heimatland Polen als Musik- und Gesangslehrerin tätig gewesen war.

[4] Brown, Kellie D. (2020). The sound of hope: music as solace, resistance and salvation during the Holocaust and World War II. McFarland. p. 44. ISBN 978-1476670560. Regardless, all seem to agree that Zofia Czajkowska proved an unexceptional musician, which limited the progress of the orchestra.

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