Hans Krása was born in Prague, the son of Anna (Steiner) and Karl Krása, a lawyer.[1] His father was a Czech Jew and his mother was German Jewish.[citation needed] He studied both the piano and violin as a child and went on to study composition at the German Music Academy in Prague. After graduating, he went on to become a répétiteur at the Neues Deutsches Theater, where he met the composer and conductor Alexander von Zemlinsky, who had a major influence on Krása's career.
In 1927 he followed Zemlinsky to Berlin, where he was introduced to Albert Roussel. Krása, whose primary influences were Mahler, Schoenberg and Zemlinsky, also felt an affinity with French music, especially the group of composers known as Les Six and made a number of trips to France to study under Roussel while he lived in Berlin. Krása eventually returned, homesick, to Prague to resume his old job as a répétiteur at the Neues Deutsches Theater. His debut as a composer came with his Four Orchestral Songs, Op. 1, based on the Galgenlieder (Gallows Songs) of Christian Morgenstern. The work was first performed under Zemlinsky's direction in Prague in May 1921 and was widely acclaimed. There followed a string quartet, a set of five songs for voice and piano and his Symphonie für kleines Orchester, which was performed in Zürich, Paris and Boston. His major achievement, however, was the opera Verlobung im Traum (Betrothal in a Dream) after the novel Uncle's Dream by Dostoyevsky. This work was first performed at the Neues Deutsches Theater in Prague in 1933 under Georg Szell and was awarded the Czechoslovak State Prize. [citation needed]
Brundibár, a children's opera based on a play by Aristophanes, was the last work Krása completed before he was arrested by the Nazis on 10 August 1942. Krása was sent to the Theresienstadt ghetto where he reworked Brundibár with the available cast “and scattered salt of staging”, who then performed it 55 times in the camp, with excerpts featured in the infamous propaganda film made for the Red Cross in 1944. While he was interned in the ghetto, Krása was at his most productive, producing a number of chamber works including Tans, Theme with Variations, and Pascaglia and Fugue,[2] although, due to the circumstances, some of these have not survived.[citation needed] He also contributed to the musical culture of Theresienstadt as a pianist, accompanist, and conductor.[2]
^ abBrown, Kellie D. (2020). The sound of hope: Music as solace, resistance and salvation during the holocaust and world war II. McFarland. p. 103. ISBN978-1-4766-7056-0.
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