Composing under shadow : pianistic and performative interpretations of Ullmann’s works from pre-Theresienstadt to Theresienstadt

This artistic research project examines the development of Viktor Ullmann’s compositional language across two distinct periods: 1936-1941 in Prague and 1942-1944 during his imprisonment in Theresienstadt Ghetto. It explores the transformation of Ullmann’s expressive priorities in response to his philosophical and artistic development, as well as the oppressive socio-political conditions he experienced under the Nazi regime. It further investigates how these circumstances informed my pianistic and performative interpretations of his works. By foregrounding the performer’s perspective, this research contributes new performance-based insights into Ullmann’s music, thereby addressing a gap in existing scholarship that has largely prioritised historical and analytical approaches. The research adopts a practice-led methodology that integrates historical and analytical enquiry with reflective performance practice. Detailed study of published scores, original manuscripts, Ullmann’s writings, recordings, and secondary literature informs interpretative decisions concerning structure, rhythm, harmony, articulation, voicing, pedalling, and ensemble collaboration. I also explore Ullmann’s pianistic writing, the treatment of extreme expression, technical challenges and the resolution of discrepancies between sources, especially in works composed during his imprisonment in Theresienstadt. The artistic component comprises two recital projects focusing on Ullmann’s seven piano sonatas, a lecture recital on the melodrama Die Weise von Liebe und Tod des Cornets Christoph Rilke, a complete studio recording of Ullmann’s eleven song cycles as presented in the main content of the Schott editions, and a development project featuring works by other composers associated with Theresienstadt.