Told in her own words, this is the incredible true story of one young woman's survival of Auschwitz and Belsen because she happened to play the cello. Although my head was shaved and I had a number on my arm, I had not lost my identity totally. I may no longer have had a name, but I was identifiable ... I was 'the cellist'. When eighteen-year-old Anita arrived at Auschwitz, she found herself plucked from the Nazi death machine by a twist of fate: she played the cello, and the camp orchestra needed a cellist. Now the last living survivor of the Auschwitz Women's Orchestra, this is her story told in her own words. Like so many German Jewish schoolgirls, Anita had been busy with her studies and ambitions when her everyday life began to turn by degrees into one of unimaginable horror. School was cancelled, her parents were summoned for deportation, and when she and her sister, Renate, attempted to escape to France, they were arrested and imprisoned. Through her sharp-etched memories, alongside family letters, photos, and other historical documents, Inherit the Truth leads us into one of humanity's darkest chapters, where we are forced to confront the fragility of the line between civilisation and barbarity. Marking the eightieth anniversary of her arrival in the UK after her release from Belsen concentration camp, Anita Lasker-Fallfisch's account of her and her sister's survival of both Auschwitz and Belsen is a testament to their remarkable courage, resilience, ingenuity and luck. This edition includes a new foreword from Philippe Sands.

This book undoes 50 years of mythmaking about Stravinsky's life in music. During his spectacular career, Igor Stravinsky underplayed his Russian past in favor of a European cosmopolitanism. Richard Taruskin has refused to take the composer at his word. In this long-awaited study, he defines Stravinsky's relationship to the musical and artistic traditions of his native land and gives us a dramatically new picture of one of the major figures in the history of music. Taruskin draws directly on newly accessible archives and on a wealth of Russian documents. In Volume One, he sets the historical scene: the St. Petersburg musical press, the arts journals, and the writings of anthropologists, folklorists, philosophers, and poets. Volume Two addresses the masterpieces of Stravinsky's early maturityÑ Petrushka, The Rite of Spring, and Les Noces . Taruskin investigates the composer's collaborations with Diaghilev to illuminate the relationship between folklore and modernity. He elucidates the Silver Age ideal of "neonationalism"Ñthe professional appropriation of motifs and style characteristics from folk artÑand how Stravinsky realized this ideal in his music. Taruskin demonstrates how Stravinsky achieved his modernist technique by combining what was most characteristically Russian in his musical training with stylistic elements abstracted from Russian folklore. The stylistic synthesis thus achieved formed Stravinsky as a composer for life, whatever the aesthetic allegiances he later professed. Written with Taruskin's characteristic mixture of in-depth research and stylistic verve, this book will be mandatory reading for all those seriously interested in the life and work of Stravinsky.