Lest We Forget: Remembering Kristallnacht

November 9, 1938, started as just another day for Jews in Germany, Austria and the Sudetenland. After breakfast, fathers went to work, children went to school and mothers kissed their loved ones goodbye. They returned home for a family dinner, went to bed and expected the next day to be identical.

That night, Nazi storm troopers, aided by citizen rioters, burned 267 synagogues, vandalized 7,500 Jewish businesses, murdered 91 Jews and incarcerated 30,000 Jewish men, transferring them to newly built concentrations camps. Overnight, the Holocaust had officially begun.

Kristallnacht — the night of broken glass — marked an important turning point in Hitler’s anti-Semitic policy. Historians uniformly point out that the passivity with which German citizens accepted this violence signaled to the Nazi regime that the public was prepared for their more radical measures aimed at removing Jews entirely from German economic and social life. The Nazis were organized, they were well funded and they were united behind a single mission.

After this summer’s Operation Protective Edge, the trend of declining global anti-Semitism sharply reversed. Daily reports of vandalism, violence and intimidation of Jews all over the world has become the new normal. Classicanti-Jewish tropes have resurfaced, masquerading as critiques of Israel’s political policies and support for Palestinian human rights.

Closer to home, Students for Justice in Palestine, a well-organized group that advocates aggressive and intimidating anti-Israel tactics, is spreading its presence on college campuses throughout the U.S. at an alarming rate. Since June 2014, SJP has formed 28 new chapters, according to the Israel on Campus Coalition (ICC), bringing the nationwide total to 157.

SJP is sponsored by American Muslims for Palestine, a group that promotes and defends posting mock eviction notices on Jewish students’ dorm rooms as “constitutionally guaranteed political speech.”

Kristallnacht was a unique and extreme event that caught its victims completely off guard. Despite mounting evidence, we must remain calm and optimistic, but we must also be alert and vigilant. We must challenge those who claim their blatantly anti-Semitic rhetoric and actions are simply robust exchanges of ideas. Most importantly, we must not be afraid to act. For, in the words of Ayaan Hirsi Ali, “tolerance of intolerance is cowardice.” It is also dangerous.

This originally appeared in the Jewish Journal on November 6, 2014.

New CD Commemorates Kristallnacht and Reimagines Hebrew Melodies

When composer Eugene Marlow had the inspired idea to include a track on his upcoming CD, “Mosaica,” to commemorate Kristallnacht’s 76th anniversary, the first person he thought of was his Aunt Ruth Rack in Australia.

Now in her mid-80’s, she was a 9-year-old in Leipzig, Germany when she witnessed the 1938 event, also known as “The Night of Broken Glass.” “I decided I had to have her narrate this,” said Marlow. The result is “Zikkaron (Remembrance)/ Kristallnacht,” an original composition that opens with the sound of Goebbels’ harsh voice and then fades to Ruth’s memories of that awful night.

The quasi-classical/Hebraic melody, according to the CD liner notes, represents Ruth’s mother’s resolute calm against the surreal, destructive aggression by the Nazis. Repetitive, single piano notes bring to mind the shattering of glass. The marching rhythm of the brass and percussion evokes a dark terror and brutality.

Marlow sent Ruth a rough mix of the track. “She liked it very much,” he said, adding that he also included an instrumental- only version on the ninetrack CD.

Pianist Marlow founded “The Heritage Ensemble,” a quintet dedicated to performing and recording his original compositions and arrangements of Hebraic melodies in various jazz, Afro-Cuban, Brazilian and classical styles. Other members are of Puerto Rican, Lebanese and Eastern European descent. Marlow’s family background is Russian, Polish, German and British.

“I am a third or fourth generation musician/composer,” Marlow said. “This is my passion,” he added, jokingly, “If you open up one of my veins, little quarter notes will jump out.”

“Mosaica” is the ensemble’s fourth album and the first to include a vocalist, Cantor Shira Lissek. “I heard her sing and loved her voice. She and I chose specific melodies,” Marlow said, adding that Lissek was concerned that as a classically trained cantor, she lacked a strong background in jazz. ”I told her, ‘You sing it straight. We’ll do the jazz around you.’” The result is a stunning collection of songs that simultaneously feel familiar and brand new. “Eliyahu Hanavi (Elijah the Prophet)” is an exciting combination of moving vocals and silky jazz accompaniment, while “Mah Nishtanah Halaylah Haze (Passover’s Four Questions)” is a bright, lively rendition of the traditional Passover melody.

Marlow, who holds a Ph.D. in Media Studies, an MBA, an M.S. and B.S. in music composition and a B.A. in English, is a professor at New York City’s Baruch College in the department of journalism and writing. He didn’t get serious about music until he was in his 20’s and didn’t start studying composing formally until he was in his 50’s.

He plans a spring 2015 release of a DVD visualizing the “Kristallnacht” track with vintage photographs from Austria and Germany to coincide with Holocaust Remembrance Day, and a fall 2015 release of original Brazilian-inspired compositions.

“I have accelerated my music output in the last five years,” Marlow said. “With ‘Mosaica,’ in particular, I made it a mission to do something different than our previous albums.”

To purchase the CD, go to cdbaby.com/cd/eugenemarlow6.