In 1995, soprano Lauren Wagner asked me to write a song cycle using texts from I Never Saw Another Butterfly, an astonishing collection of poems written by children from the Terezin Concentration Camp. One cannot help but be touched by the hope, innocence and truth of the poems. Around this time, I was also considering writing a piece for saxophonist Gary Louie, and the idea of using saxophone as the sole partner for the voice seemed perfect, as the sound of the saxophone could be haunting and soulful, as well as reminiscent of Klezmer music. I later created versions for clarinet and bassoon, each of which contributes its own unique timbre.

I chose to set 6 poems, creating a dramatic arc that proceeds from hope to despair.

The Butterfly opens with a cantorial-style saxophone line, conjuring up images of a fluttering butterfly. The voice enters with melodic speech-based rhythms. The saxophone’s function alternates—sometimes it takes the center stage, as in the cadenza, which symbolizes the butterfly’s freedom; and sometimes it accompanies the voice, providing a harmonic underpinning that sets the tone for the poem’s subtext.

This poem was written by Pavel Friedmann, who was born January 7, 1921. He was deported to Terezin on April 26, 1942 and died in Auschwitz on September 29, 1944. Despite the tremendous sadness of the text, the message of the poem is one of undying spirit.

Yes, That’s the way things are was written by three children—Kosek, Löwy, and Bachner—who wrote under the name Koleba. To reflect the irony of the poem, I created music with a folk song feel. The dancing, shifting rhythms combine with a modal melody that switches between a minor and major seventh, and the vocalise, here sung on the syllables “ba-de-dum,” is typical of Jewish folk song.

Miroslav Kosek was born on March 30, 1932 at Horelice in Bohemia and was sent to Terezin on February 15, 1942. He died October 19, 1944 at Auschwitz. Hanus Löwy was born in Ostrava on June 29, 1931, deported to Terezin on September 30, 1942, and died in Auschwitz on October 4, 1944. There is no information on Bachner.

The author of Birdsong is unknown. The poem is preserved in manuscript, and most striking is the author’s ability to rise above the horrid living conditions to focus on the loveliness of life. Ascending phrases are used to portray hope, and a vocalise is again employed as an interlude and postlude, where voice and saxophone combine in a passionate duet.

The feelings of hope manifested in the earlier songs die in The Garden. The poem was written by Franta Bass, who was born in Brno on September 4, 1930. He was sent to Terezin on December 2, 1941 and died in Auschwitz on October 28, 1944. The little boy walking along the garden path is portrayed by a weaving saxophone part with the subtle rhythmic changes. Both parts build to a climax, then abruptly come to a close as “the little boy will be no more.”

Man Proposes, God Disposes was also written by the three children who signed their name Koleba. The poem recognizes that those who were “rich before” would perish much faster in the camps than those accustomed to a harsher life. This short song employs simple melodies, and the use of the vocal glissandi projects a cabaret atmosphere.

The Old House, also written by Franta Bass, ends the cycle. The barren image of the deserted house is captured by the saxophone repeatedly playing one note, like a bell tolling. As the poet recalls happier days, the voice and saxophone become more expressive and expansive in range, but then return to the sparse opening texture. The phrase “rotting in silence” is repeated sequentially three times, descending to bring the cycle to a close with the voice alone, whispering.

-Lori Laitmann