Nathaniel Lande’s While the Music Played skillfully blends historical figures and fictional characters. Like several recent popular World War II novels, it introduces elements of the underground resistance. However, while important, those elements remain secondary. Instead, Lande dramatizes how the arts, especially music, helped created moments of hope during a time of despair. Although the central plot involves music—the children’s opera Brundibár, the author also alludes to classical pieces and popular songs, works in several apropos lyrics, and employs artful music imagery.
The story comes to us through several points of view, including a British female reporter, a German-Czech orchestra conductor, and his young son, who is twelve when Germany annexes Austria and Czechoslovakia.
Early in the novel, readers first encounter Max, now an adult, listening to a performance of Giuseppe Verdi’s Requiem during the tenth anniversary commemoration of the war’s end. Overwhelmed by his memories, Max flees the sanctuary, haunted by thoughts of childhood friends David and Sophie. He recalls how three had vowed to save one another and how the others had changed his life. “This is how it was. This is how it all began,” he explains as he begins telling about his idyllic boyhood in Prague as son of “The Great Viktor Mueller,” his flamboyant hero who could turn any moment into a celebration.
We meet Max’s talented friends David and Sophie, his father’s former conservatory classmate named Hans Krása, and a visiting British reporter named Anna Kingsley. We spend time sitting in concert halls, marching through the streets with Viktor, Max, and Max’s classmates, each playing an instrument, watching Max’s budding interest in the news, which leads to his job delivering papers for Sam Raggle, who runs the newsstand, and listening to Viktor regaling Max with tales of “The Distant and Mysterious Man,” Armand Duval, whose mission it was to travel the world collecting emeralds to give to the poor.” Little did Max know that he would soon need to discover his own life’s mission.
When Conductor Mueller becomes Major Mueller, cultural program director for the Reich, Max’s world is turned upside down. Max, David, Sophie, composer Hans Krása, artist/architect Norbert Troller, film maker Kurt Gerron, and Rabbi Leo Baeck find themselves in a darker reality at Terezín (Theresienstadt), doing their best to bring moments of light through their music, art, and teaching.
Having already mentioned Lande’s music allusions and imagery, I cannot fail to mention the literary allusions and quotations, ranging from Tennyson to Twain, also scattered throughout the novel. Much as music influences the characters’ lives, so do the words of a few of our greatest writers.
The author’s notes and photos at the end of the novel provide a useful, valuable supplement.
Thanks to NetGalley, Blackstone Publishing, and Nathaniel Lande for providing me with an Advance Reader Copy of this highly recommended contribution to Holocaust fiction.