Echoes of the past: refuge and memory, 2

continuing from Part One

Hildi directing school choir, March 1963.

After twice fleeing danger, by 1950 Hildi’s family had arrived in Detmold, in the British zone of occupation, where they found a more secure home as society slowly rebuilt.

Westphalia
In both Russian and Allied zones after the war, many prisoners were still held in squalid conditions, often in former concentration camps. At Minden just north of Detmold there was a British-run displaced persons’ camp, [1] which by the time Hildi arrived had become a British army base.

For a whole year Hildi’s family lived in a garden hut belonging to a friend, which had previously served to accommodate two other refugee families. The authorities, who had to find adequate housing for all of them, threatened to nail the door shut to put an end to this.

But in spite of the cramped conditions, living in freedom, enjoying the garden with its bench and table under the opulent cherry tree, listening to the chirping birds hopping on the roof of the hut—all this seemed bliss. In the morning the postman would shout from the bottom of the garden: “Dornröschen, wach auf!” [Sleeping Beauty, awake!]. Inside the hut there were three bunk beds on top of each other with not much room to manoeuvre; my father slept on a narrow bench under the window, but occasionally there would even be a place for a visitor on a field bed, with just a head peering out from underneath the table! A special treat for Sunday was one of the delicious loaves baked with yeast and full of juicy raisins.

We had lovely Sunday walks in the Teutoburger forest, taking picnic lunches. On Christmas Eve 1950, as my parents prepared for a festive celebration, decorating a tiny Christmas tree in a flower pot, my brother and I walked down the snow-covered street looking into the lit-up windows. Some of the houses were occupied by British families. Since their decorations were rather different from most German ones, we wondered if perhaps these colourful garlands meant some kind of carnival?

As the schooling system was different from that in the GDR, Hildi had to jump two classes to start her high-school education. In most subjects this didn’t seem to be a problem, but although her mother had tried to prepare her, she didn’t find English so easy at first—especially as she had to tackle the second language French as well. It was music classes that gave Hildi most pleasure, above all her violin lessons with Erwin Kershbaumer.

The following spring they were moved into a flat on a newly-built housing estate, which felt something of a luxury. They now had to find some furniture. When a professor from the local music academy, who was leaving to take up the position of Thomaskantor in Leipzig, posted an advertisement offering a table, six chairs, and a small sideboard of solid oak, Hildi’s mother agreed to the sale at once.

With money still very tight, both parents gave private lessons, often walking long distances to nearby villages to coach children who had difficulties at school. Still, given their lucky escapes, Hildi remembers it as a happy time:

We were content and made do with what we could afford without feeling deprived, although people around us seemed to be better off, and the choice in the shops was plentiful and perhaps tempting.

[This is neither here nor there, but I note that similar comments have been made by people recalling life in the GDR! People’s modern sense of entitlement to instant gratification was still some way off.]

Only later in my life did I fully appreciate the sacrifices my parents made in order to provide us with a good education and comfortable life. As long as my brother and I were studying they never took a holiday, and even afterwards they were there for the whole family whenever financial help was needed.

In August 1951 they all travelled back to Thuringia to attend the wedding of Hildi’s sister. This would be the last time they were all able to go together: by 1952 the GDR had closed its borders. Until 1963, when Hildi’s father became a pensioner, only she and her mother were able to make occasional visits—his profession in education made him immediately suspect to the authorities, so he felt it would be unwise to go.

Heimat
In 1951 Hildi’s father, with his pre-war experience as Rektor, was appointed headmaster of a school just further north in Minden. Whatever their wartime backgrounds, qualified employees were desperately needed in the new Germany.

During the 1952 summer holidays, Hildi and her mother went to join him. Hildi’s brother stayed at boarding school in Detmold to finish his last year before the final high-school examination. Hildi, now 15, attended the high school for girls in Minden. By this time she was also a promising violinist.

Their flat in Minden was again a newly-built one, and Hildi was delighted to have a little room to herself for the first time. Another excitement was to acquire a second-hand piano, on which she immediately tried out some tunes with a few fingers—having just joined a local choir, she liked attempting the Hallelujah chorus. Quite soon a piano teacher was found and she began learning properly.

In 1950 the GDR had signed documents officially recognizing the Oder–Neiße border as permanent boundary between Germany and Poland, a gesture which in 1970 was followed by the western part of Germany at the Treaty of Warsaw, signed by the West German chancellor Willy Brandt. For the older generation of refugees from the east, like Hildi’s parents and grandparents, this meant a conclusive end to their hopes for a return to their Heimat. At the time such refugees made up about a quarter of the population of the GDR—who had to keep quiet about their past (socialism looks forward, not back, as Hildi observes!). They were officially called “resettlers” (Umsiedler); “expulsion” (Vertreibung) was now to be known as “evacuation” (Aussiedlung).

Traditional Silesian costume.

While the complexities of Silesia’s ethnic history were being erased under the GDR and Polish regimes, Hildi´s parents, uprooted from their “Heimat” to Minden, and living with the realization that there was never to be a return, joined the local Silesian Association (Schlesier Verein), [2] where they found friends amongst people who shared a similar past, exchanging cherished memories, reciting poems in dialect and singing. Once a year there would be a festive occasion when everyone dressed up in traditional costume. [3] Such Heimat-Nostalgie was common—though their own nostalgia was not for Weißwasser but their ancestral home further east in Silesia, now part of Communist Poland. [4]

At the time Hildi was busy growing up, finding her own friends and activities. While her parents took comfort from celebrating the past, for her all this was slightly embarrassing and sentimental. Looking back now, she realizes her lack of enthusiasm for the family’s Silesian heritage must have disappointed her parents, but they never pushed her.

Studying and teaching
Hildi was firmly rooted in the present, looking to the future and enjoying her fortnightly trips back to Detmold at weekends for violin lessons, staying with her teacher.

When the British left in 1955, the houses they had occupied in Minden became vacant, and the British cinema closed, but people hardly noticed any change.

After matriculating in March 1957 Hildi began her studies at the NWD Musikademie in Detmold, resolving to become a teacher of music and German. Her brother was just finishing his studies in art and German.

Hildi was full of enthusiasm, not just working hard but enjoying her time with friends. She received a monthly allowance from her parents, and if she ever overspent her friends would share their second helping at the Mensa. Still, by the end of each term they had generally lost weight, and were looking forward to proper meals at home. In April 1960 Hildi graduated in German, and in July she qualified as a music teacher.

For the summer of 1961 I was awarded a scholarship for the Wagner Festival in Bayreuth. I was given two tickets, one for Parsifal and one for The flying dutchman. As my violin professor was in the orchestra he managed to sneak me into the covered pit for a performance of Tannhäuser, conducted by Sawallisch, where I perched amongst the musicians of the first violin and could briefly stand up when they were not playing. This gave me the occasional glimpse of my idol Dietrich Fischer-Dieskau as Wolfram, Victoria de los Angeles as Elisabeth, and Wolfgang Windgassen in the title-role. The production of the Béjart Ballet in the Venusberg Scene and the first black Venus, the fabulous Grace Bumbry, caused quite a stir in the press. I was also able to get into the dress rehearsal of Die Meistersinger. This was my introduction into the world of opera, in which I would be involved myself at a much later stage of my life.

My first employment was at a primary school in a small town a short bus ride from Detmold. This first year in my teaching career proved to be demanding, as I had to cover all the subjects and do a lot of reading—sometimes I was just a few pages ahead of my pupils! Every lesson had to be prepared in writing, available for the supervisor who appeared, unannounced, on a number of occasions.

I was waiting for a position teaching music and German to become available in Lemgo nearby, which was to become vacant in 1961. There I was the first and only music teacher of the school, and I now had a modest budget to buy the necessary equipment. I promptly bought six violins and music stands and started teaching my violin pupils in the afternoons. This was the humble beginning of a little school orchestra later on. I also formed a small choir to perform for special occasions. In the beginning these were always a bit stressful for me, as I felt responsible for each of my singers and could not be sure how they would react under pressure. In my teaching I was always very careful not to have any “favourite” pupils in my class. When we prepared a play for parents’ day I was just guiding the children. The children wrote the play, they decided who should get the individual parts, they made the costumes, and as there were a number not directly involved in the play, I made sure they had other duties and thereby did not feel left out.

In the early days of the GDR Hildi’s sister (now married with two small children) could visit occasionally—always without her husband. Hildi’s parents regularly sent food parcels; their finances still stretched, her mother resumed teaching.

It was a terrible shock when the Berlin Wall (“Anti-Fascist Protection Rampart”) was built in August 1961. As it happened, just beforehand Hildi’s sister managed to visit her family in Minden, with her little boy and a daughter still not one year old. Of course they wanted her to stay—but despite the GDR’s escalating problems, they understood her decision to return again to her husband and home.

From now on, visits from East to West were only granted under exceptional circumstances. It became increasingly difficult for Hildi’s family to visit her sister too: after filling in elaborate forms, they faced uncomfortable checks at the border, with guards watching on both sides of the train, Kalashnikovs poised. Visitors were invited  to attend the political “welcome meetings” to extol the praises of the GDR; though not compulsory, any absence would have been noted down. Hildi’s mother had returned from a previous visit seething and debilitated; later, afraid that her mother would be unable to sit through the propaganda without exploding, Hildi’s sister discouraged her from going.

1963–66: Zurich and the world
In 1963 Hildi’s life took yet another new course. By now the violin was playing an increasingly important role in her life. She pursued her studies further by continuing her lessons with Prof. Otto Schad at the Akademie in Detmold, and she enjoyed the chamber-music tuition with Prof. Günther Weißenhorn. She received her violin-teaching diploma at Münster in May 1962, and began getting occasional engagements for concerts.

Inheriting an attraction to Switzerland from her mother, she now boarded her first aeroplane (alone and terrified) to audition for the Zurich Chamber Orchestra. Wanting to keep it a secret, she took a flight from Hanover directly after school finished on a Saturday. After the audition on Sunday she took the sleeper back home, and went straight back to work at her school. The following week she received a letter offering her the Zurich job. She was overjoyed, but now she had to break the news to her parents, and (right in the middle of term) to the headmaster of the school where she was teaching. But of course they were pleased for her, even if they assumed she would come back one day.

However, saying farewell to my class was more difficult and caused quite a few tears from my pupils. I was deeply touched by their affection. They had prepared a moving little ceremony for me, presenting a booklet in which they had recorded in writing, accompanied by some photos, events in the course of our time together. At the end each of the girls gave me a beautiful pink rose before they waved me off and ran after the bus which finally parted us. When they were all out of sight and I sat holding my huge bunch of thirty-six roses, I too felt sad, realizing how much I had enjoyed my teaching. Little did I know then that much much later on I would indeed return to this profession when coaching singers in the performance of German repertoire.

Although the pay was low and Swiss prices high, these three years with the orchestra were a happy time for Hildi, unimaginable after the hardships of her early years of refugee displacement.

I loved the playing, and I am still grateful that I had the privilege of rehearsing with many world-famous soloists in the rather small room in the villa of the founder and conductor Edmund de Stoutz. In this intimate environment we experienced these wonderful musicians in a way that is hardly possible on the big stage—they were so close, this was chamber music at its very best! There would be Yehudi Menuhin and his sisters Hepzhibah and Yalta, Zino Francescatti, Nathan Milstein, André Gertler, Erica Morini, Maurice Gendron, Pierre Fournier, Gaspar Cassadó and many others—forever treasured encounters!

I bought a really good violin and studied with Ulrich Lehmann in Bern. Apart from concerts in Switzerland, I loved going on tour to places like Italy and the USA. Touring was a great way of visiting places I might otherwise never have seen.

 My first trip to Venice was unforgettable. The orchestra had a tradition that every newcomer would be taken blindfolded to the middle of Piazza San Marco—as the scarf was removed, imagine the breathtaking impact of finding myself surrounded by all the stunning architectural beauty!

Also unforgettable was my first tour of the USA, with forty-nine concerts, travelling for two months by Greyhound bus through the eastern states! We did not get any subsistence (meals were pre-ordered for the whole group), and we shared rooms—but I loved it. However a shocking experience for us all was to be confronted with the rigid segregation of blacks in the southern states. Seeing signs: “No blacks admitted!” in many public places gave us a guilty and very uncomfortable feeling. One saw blacks working in the kitchen, but none inside the restaurant. Only when we played in Atlanta did we notice black people in the audience.

In November 1963 news of the assassination of JFK spread like wildfire during the interval of our concert in the Tonhalle in Zurich. We were stunned—only a few months earlier he had been the focus of international news when he made his famous speech in Berlin. As soon as the concert ended we rushed off to the Bahnhofsplatz to join the throng of people staring in shock and disbelief at the news bulletin projected on a screen high up on a building. On our US tour the following April we visited Kennedy’s grave and the Eternal Flame at the Arlington Cemetery.

I was very conscious of the fact that I was privileged to experience this freedom while my sister’s family in the East was living under severe travel restrictions. To let them take part in my excursions, at least visually, I sent them as many picture postcards as I could, which they collected and have kept to this day.

Meanwhile in Germany, Christmas 1963 marked a temporary pause in the complete segregation of East and West Berlin: West Berliners could now get a 24-hour visa to visit relatives in the East. Of course it was a one-way deal, and the concession only lasted for eighteen days, but still it gave a glimmer of hope to all those families had been forced to live apart. As a sign of solidarity Hildi’s family always put a candle on the window-sill on Christmas Eve.

1966–68: from Hanover to London
Much as Hildi loved working with the Zurich Chamber Orchestra, after three years she began to feel it was time for a change. Wanting to experience the big romantic sound of a symphony orchestra, in late summer 1966 she applied for positions in various German orchestras. Meanwhile in Zurich she did some freelancing with the Radio Orchestra, where she met her future husband, viola player Andrew Williams, who had just finished his studies with Max Rostal in Bern.

While Hildi waited to find out which direction her life would take, she returned to Germany, taking further lessons with her teacher Otto Schad in Detmold. In January 1967 she started work with the Niedersächsisches Symphonieorchester in Hanover—experience that stood her in good stead for her later career.

In 1968 Hildi married Andrew and they came to live in London—this time a willing migration for her. Her parents were happy to come and see her there, and they had a wonderful holiday in Scotland while she was performing there with Scottish Opera.

With her basic English learned at school in Germany, she often sank into bed exhausted from trying to communicate. Her ear now attuned to the nuances of German and English, she appreciates my bemusement at some of the mouthfuls cited here, but observes:

The English ear can be quite overwhelmed by all the composite nouns of German, like Brückenbauingeneuranwärter, “engineer apprentice for building bridges”! Of course, it sounds absurd out of context; but German poetry also has some exquisite creations that touch me every time I hear them, such as Richard Strauss’s Morgen:

… inmitten dieser sonnenatmenden (sun-breathing)
zu dem Strand, dem weiten wogenblauen (wave-blue).

Sometimes I would try and invent such words in English, only to be told, “You can’t say that—it’s not in the dictionary!”

Such language—like the Matthew Passion, the settings of Berg, and Nina Hagen—further encourages me to learn German (see also Some German tongue-twisters).

Here’s Elisabeth Schwarzkopf with George Szell and the LSO in 1968 (with Edith Peinemann on violin), just as Hildi was making her home in London:

And I just have to offer you Janet Baker singing it with the Academy of St Martin in the Fields, c1972:

(For the Four last songs, see here).

Hildi continued her studies of the violin with Manny Hurwitz, but having to make connections all over again, freelancing in London was hard for her at first. For the first year, as a German citizen Hildi was unable to join the Musicians’ Union. So after marrying she applied for British citizenship—seemingly a sensible step, since she had made London her home. She didn’t realize at the time that German didn’t accept dual nationality, which later caused her considerable problems. In Hildi’s poetically succinct evocation,

Sitting in an office among the clatter of typewriters, swearing allegiance to the Queen, I lost the nationality of my birth.

As to freelancing, the immediate problem was that Hildi’s musical training on the continent was very different. Since most continental orchestras have plenty of rehearsal time to get familiar with a work, she found herself ill-equipped with the sight-reading skills of British musicians, who might not even know what was on the programme before they showed up for the one rehearsal on the day of the concert. Further, the freelance scene depended largely on introductions and recommendations. Lacking such connections, she was a foreigner who hadn’t studied in Britain.

So Hildi made a slow start. Her account will strike a chord with many an early-career freelancer:

My first engagements were mainly out-of-town dates. I remember playing in stunning but freezing cathedrals, welcoming the breaks when I could cup my cold hands around a warming mug of tea served with home-baked goodies provided by dedicated elderly ladies. Sometimes I ventured out with my new friends in search of some affordable sustenance. Money was always tight. Andrew had bought a new viola, so from each payslip a deduction was made to pay for it in instalments. We were also saving up to buy a home. Between us we managed on £10 a week for housekeeping. Sometimes my parents would help out, but in those days the exchange rate was low—11 Deutschmarks to the pound!

We can’t erase memories of the “No Irish, no blacks, no dogs” posters of the day (Enoch Powell delivered his “Rivers of blood” speech in 1968), but there was also an enduring undercurrent of anti-German sentiment, both in the media and in society. Hildi was shocked when a well-meaning colleague took her aside and said, “Don’t tell anyone you’re German! Pretend you’re Swiss.” And in a fatuous tradition marginalized until the sinister rise of “the UKIPs”, even her new neighbours told her, “Go back to your Cologne, or wherever you come from”—their relationship remained frosty throughout her first decade in London. Since living in Swizerland had felt no different from being in Germany, such remarks felt hurtful. After the caricatures of British comedy, latterly—with Germany’s image improving constantly (I suspect the Apollonian Joachim Löw‘s rebranding of the national football team may be an element)—the legacy of such racism now resides mainly in odious tabloid headlines.

Of course, it is quite understandable that having endured such hardships as a result of standing against Hitler, many British people would feel long-lasting animosity—but as time went by, the personal consequences were unsettling. Since Hildi was still not two years old at the outbreak of the war, she gradually came to feel that she shouldn’t have to go on bearing the taint of being German; she hoped to be taken as an individual, to be judged by how she conducted herself and related to people.

Indeed, this was soon the case in the musical world where Hildi now found herself. As time went on she began to find work with leading chamber groups like the English Chamber Orchestra and John Eliot Gardiner’s Monteverdi Orchestra; other formative experiences were playing for Kent Opera, the London Classical Players, and the Academy of Ancient Music. She sometimes came across Hugh Maguire, who was soon to teach me

This was the swinging sixties—Beatles, Stones, Hendrix… Even the more staid classical music scene was still seasoned by dalliances with pop—the session scene was burgeoning, with Hildi’s colleagues playing in the string quartet accompanying Yesterday and She’s leaving home.

In 1969 Hildi was also playing in the run of the musical Anne of Green Gables, doubling on violin and viola. As the music became grindingly familiar, some players in the pit replaced the score on their stand with a magazine; during the dialogues Hildi managed to read through the whole of War and peace and Anna Karenina. (Blair Tindall’s fine book on the New York freelancing scene also encompasses life in the pit.)

Meanwhile I was a teenager in suburban London, playing violin and surreptitiously listening to the Beatles on my little transistor radio.

While refugees played a major role in British cultural life, a painful blanket of silence reigned. There was no sharing of reflections. Of course, those orchestras also contained a substantial quorum of Jewish refugee musicians, who had endured far worse sufferings than Hildi’s family; later their children were also among our colleagues.

So throughout the post-war period, in all walks of life (service, industry, the arts, including music), refugees were ubiquitous yet unacknowledged. Survivors of the war, both victors and vanquished, were relieved to tend their begonias, go shopping, and bring up their families without raking up the past.

Still, within Germany, films like Wir Wunderkinder (1958) and Die Brücke (1959) were hotly discussed, especially among the younger generation. Among myriad discussions, conflicting moods among Germans in the early 1960s are movingly evoked by Gitta Sereny. [5]

Life in the GDR
Meanwhile, the life of Hildi’s sister was taking a very different course. [6] She and her husband were teachers. Their lives under the GDR remained private; this isn’t the place to try and fill in the gaps, so I can only imagine her story through the prism of major events.

After the trials that immediately followed the war, West Germany as yet largely preferred to bury the ghosts of the recent past. In the GDR, despite some more perfunctory show-trials, there was still less soul-searching: the topic of its citizens’ relationship with Nazism was even more verboten.

My mother and I visited my sister at least once a year, mainly during the summer holidays. In the early years one would be confronted with red banners everywhere as soon as one reached the border—self-congratulatory slogans praising the achievements of the State, the fulfilment of the Five-Year Plan, and exhortations to strive hard for the socialist ideal. Photos of individual workers were displayed on a board in front of the factory, with captions giving their names and accomplishments. As time went on, fewer of these displays were evident.

In June 1953 there was widespread unrest. The Soviet invasion of Hungary in 1956 added to people’s moral dilemmas. Hearing of these upheavals on the radio, Hildi was disturbed by the crushing of popular dissent while worrying for her sister. By 1968 the GDR authorities decided to destroy the ancient Paulinerkirche in Leipzig, where Bach had directed services. On 4th April the university choir performed the Matthew Passion there. But the church’s heavy student traffic was causing suspicion, and on 30th May, “the darkest day in the history of the city”, it was dynamited “to make way for a redevelopment of the university”; many of the protestors against the blasting operation were to spend years in prison. Similar protests accompanied the demolition of the Garrison Church in Potsdam.

Destruction of the Paulinerkirche, 4th April 1968.

At this very moment, the Prague spring and its repression by Soviet tanks were also causing difficult moral decisions in the GDR.

By the 1960s, along with the nationalizing of industrial and trade sectors, most land had been expropriated into collective farms called Landwirtschaftliche Produktiongenossenschaften, mercifully known as LPG. Dispossessed farmers would often find themselves laboring on their own land. A rigid work-to-rule atttitude came to prevail. Schools were often recruited at harvest time to help out “in solidarity with the workers to further the socialist ideal”. A friend told Hildi how on one such mission they had to gather potatoes after the plough had dug them up. By 5pm there was only one row left to gather, and the children were perfectly prepared to finish the job—but the order came to down tools, so they had to return the next day.

A distinct lack of individual commitment was evident. Reminding me of China, Hildi notes how the lack of a product in a shop would be acknowledged by a bored shrug from the assistant. Shopping was a lottery. Whenever word got round that an unusual item was in stock, it would sell out fast—even if it was of no particular use at the time, people snapped it up “just in case”.

For those who could afford to pay a bit more, there were Exquisit shops with higher-priced clothing and shoes, and Delikat shops for more “luxury” foodstuffs—mostly made in the GDR, but not generally available. In December 1962 Intershops were introduced, state-run stores stocked with goods from West Germany and elsewhere. Mainly intended for foreign tourists, they only accepted hard currency, at first mainly West German marks. For Hildi and her mother it was a welcome opportunity to purchase items that couldn’t easily be posted—including Nutella, which remains her sister’s favourite spread to this day.

Still, just as in China, it’s unsatisfactory to describe people’s lives solely in terms of deprivation, repression, or national crises, confrontation, and compromise; alongside “Stasiland” paranoia, one wants to reflect the normality of life under a paternalistic welfare state. Housing, and basic provisions like bread, potatoes, and milk, were cheap.

While the more adventurous GDR youth had long managed to gain clandestine access to popular culture from the West, by the late sixties the leadership was reluctantly allowing society to open up, and alternative underground scenes began to thrive—under close scrutiny. Nina Hagen (b.1955), who continued the anti-establishment stance of her mother and stepfather, eventually left for the West in 1976.

When their father lay dying in 1981, Hildi’s sister, restricted to a single visit, could come only for the funeral.

The world of early music
Back in London, Hildi was shocked whenever there were reports of GDR citizens being shot trying to escape. In her freelance work, Hildi had begun working for John Eliot Gardiner in his Monteverdi Orchestra from 1968. She was in the vanguard of his pivotal move to early instruments in 1977, going on to play in his new English Baroque Soloists—as she still does today. In a Guardian report on the extraordinary 2000 Bach Cantata Pilgrimage that was just unfolding, we find:

Hildburg Williams, a German violinist, was among those who made the leap with Gardiner in 1977. Gardiner had realised, after a particular performance of Rameau that year, that he simply couldn’t get the colour he wanted from modern instruments. So for a short time the orchestra used baroque bows on modern instruments. “We all struggled a bit,” she says, “and John Eliot soon realised that this halfway approach was unsatisfactory.” So, the following year, Gardiner switched to period instruments. Several regular players refused to follow him, and the split effectively led to the creation of the English Baroque Soloists, Gardiner’s instrumentalists ever since. Williams, though, remembers it as the most exciting time of her career: “The instruments and bows dictated a complete rethink of playing technique. It became possible to achieve absolute clarity in texture, to articulate, to speak with the instrument.”

As I suggested, Richard Taruskin thus seems to do something of a disservice to the genuine explorations of the time—as does Norman Lebrecht, in a soundbite that bears no scrutiny at all:

The early music movement has won an elective majority in the market place. The cult has claimed the centreground, homeopathy has defeated the BMA.

Hildi also features (along with Pete Hanson) in video reflections by members of John Eliot’s Orchestre Révolutionnaire et Romantique.

After her divorce in 1974, Hildi fended for herself, developing impressive DIY skills. As she gained in confidence she gradually came to feel less alien. In Paris she met the diplomat, Francophile, musician, and translator John Sidgwick, who became a soulmate, joining her in London when he retired from the British Embassy in 1984. They married in 1999.

With her vivacious personality and utter integrity, Hildi has always been a popular musician. In 1985 we did Israel in Egypt with John Eliot at the Handel Festival in Halle, and in 1987 we performed the Matthew Passion in East Berlin. For me, these trips (one on the eve of my first six-month stay in China in 1986, the other just after my second) made a niche variation on our tours to Spain, Japan, or wherever; it didn’t occur to me how deeply personal they were for Hildi. But it was wonderful for her to see her sister and family again.

A slight easing of travel restrictions for GDR citizens had taken place in 1982. More usefully, a GDR regulation that people over 60 could visit relatives in the West enabled Hildi’s sister to join their mother for a holiday in London in 1988—though her children were kept behind. Still no-one had any inkling of the imminent convulsion.

But by the autumn of 1989, following Gorbachev’s dramatic rolling back of restrictions—and, in Beijing, the abortive Tiananmen protests of the summer—unrest was suddenly rife throughout Eastern Europe. Hildi’s niece was working in Leipzig for the celebrated music publishers Peters—which we had all raided for scores on our 1985 and 1987 visits (I heard a story about Karajan’s visit to the shop: casting an eye over the stock, he simply declared, “I’ll take the lot.”).

By September Hildi’s sister was anxious whenever her daughter joined the growing crowds of demonstrators setting off every Monday in peaceful protest marches from the Nikolaikirche, where Bach had directed his John Passion. The conductor Kurt Masur joined the demonstrations, going on to play a leading role. As the Wall fell on the 9th November—almost as suddenly as it had been built in 1961—Hildi watched the TV broadcasts in London with excitement.

Since 1989
The fall of the Wall was momentous, allowing long-separated families to be reunited. It’s easy to celebrate “freedom”, but we should at least hint at the complexity of people’s feelings in the East. People now “just wanted a life”, as Hildi observes. Hildi’s sister and her husband didn’t want to enquire about their Stasi files—and nor does Hildi, who must have one too.

But as throughout East Europe and Russia, people now had to adapt to harsh and bewildering new economic realities. In China too, the dismantling of the commune system from the late 70s had led to great uncertainty; Li Manshan’s Daoist band were now thriving once again, though it was still to be over a decade before life became significantly more bearable.

After unification Hildi’s niece lost her job at Peters. Their precious stock was destroyed when its partner in Frankfurt decided it should be pulped: they couldn’t even sell it off cheaply.

The building of a modern church on the site of the Paulinerkirche, dynamited in 1968, was now on the agenda, and in 2009 the first service was held in the imaginative new buildings. Leipzig is now full of thoughtful commemorations of its troubled GDR past.

In 2000 Hildi and I were part of the pool of musicians taking part in weekly concerts throughout the year for John Eliot Gardiner’s extraordinary Bach Cantata Pilgrimage. While I was naively relishing the music, Hildi’s enjoyment would have been mixed with her personal history. She reflects with a certain irony how the poverty of the GDR had enabled towns there to preserve dilapidated old architecture that was being dismantled with abandon in West Germany (although it has been observed that in the East they compensated by ravaging the environment).

By 1994 Hildi’s life was taking a new course, as she found herself in demand as a German language coach for singers. She has gone on to work mainly at Covent Garden, Welsh National Opera, the Royal College of Music, and the Royal Academy of Music. She dearly loves this work, combining her early teaching experience (in the family tradition) with her later career as orchestral musician—even if she sometimes has to bring into play the skills of diplomacy that she has honed in playing for conductors.

Hildi (right), with Bach and John Eliot, Leipzig 2015.

As Hildi tells me the story of the 2015 return to Leipzig of the famous 1748 painting of Bach by Elias Gottlob Haussmann, she clearly takes it to heart. The portrait had itself been on a lengthy odyssey (see also here)—from Leipzig to Berlin, Hamburg, Breslau (Wroclaw), London, Fontmell Magna, Princeton. Its final return to Leipzig in 2015 was a kind of homecoming for Hildi too. Bach’s generation, of course, also had to live in the shadow of the devastating trauma of the Thirty Years’ War.

Walter Jenke, whose Jewish family had bought the portrait in a curiosity shop in Breslau in the early 19th century, fled Germany for England in 1936. Remarkably, to protect it from air raids, he kept it at the Dorset country home of his friends the Gardiners; so John Eliot grew up with it, as he describes in his wonderful book on Bach.

But after the war, Jenke had to sell the portrait at auction in 1951, when it was bought by the American philanthropist William Scheide. It then hung in his living room for over sixty years. When he died, aged 100, in 2014, he bequeathed it to the Bach Archive in Leipzig, where it now welcomes visitors. It was fitting that Hildi took part in the Leipzig ceremony in 2015 with John Eliot and assembled luminaries.

Meanwhile she continued playing violin right until Covid—here she is in November 2022 at a celebration in honour of her long career with the English Baroque Soloists:

Photo: Sarah Bealby-Wright.

* * *

Before making her home in London, Hildi lived under the Reich, the American Military Government, the Soviets, the GDR, the British zone of occupied Germany, and the Federal Republic.

Just recently, “hopping mad over Brexit”, Hildi—with great difficulty—has managed to reclaim her German nationality alongside her British passport.

Meanwhile in Germany, a vast and laudable reckoning has taken place for both the Nazi and GDR periods. For all the valiant attempts there to reckon for the past, the vast majority preferred to forget; but all our diverse societies continue to bear the scars of trauma. Indeed, such scars form an essential part of my fieldwork on ritual groups in rural China—and while I have documented the story of Li Manshan’s family with him in a certain detail, writing this account with Hildi reminds me that we always need to evoke Chinese lives more profoundly.

Like many, growing up absorbed with everyday problems amidst social reconstruction, Hildi later came to reflect, learning more and finding her own way of digesting and coming to terms with her country’s history. The pain of the mid-20th century is unimaginable to our pampered later generations; yet it needs to be remembered. Merely to survive was some kind of blessing—as evoked in Chinese films; and aware of her sister’s constrained situation, Hildi was moved by German films like The lives of others.

So the point is not that Hildi’s story is exceptional. Rather, whether we’re aware of it or not, we’re all surrounded by such memories—in an office, on the bus next to us, or me naively sharing a desk with Hildi in the violin section of an orchestra. And with refugees—and their contributions—ever more common, we urgently need to take them to heart. So this whole story is not just about Hildi’s early life, but about our whole relationship with our past, present, and future—in Germany, Britain, and worldwide.

[1] MacDonogh, p.413. Hildi notes that the connection of Minden with the House of Hanover and the British crown has made it a popular theme of British history books.
[2] For such groups, also known as “clubs for the Silesian homeland” (Schlesischer Heimat Bund), see e.g. Andrew Demshuk, The lost German East: forced migration and the politics of memory, 1945–1970 (Cambridge UP, 2012); Gregor Feindt, “From ‘flight and expulsion’ to migration: contextualizing German victims of forced migration”. For the ongoing conflicts over Upper Silesia, see e.g. this recent article. For narratives from Germans in Silesia, see also Johannes Kaps ed., The tragedy of Silesia 1945–46. Stephan Feuchtwang (a refugee from Berlin, later to become a masterly anthropologist of China), reflects on “the transmission of grievous loss in Germany, China and Taiwan” with pertinent comments on Heimat, in After the event, p.157, 172, 196–8, 201–4.
[3] While kitsch traditionalist sentimentality was less politically manipulated in the West than behind the Iron Curtain, a related feeling of manipulation and alienation is brilliantly dissected in Milan Kundera’s The joke.
[4] Echoes of an uncomfortable past have persisted. Another native of Weißwasser, Werner Schubert (85 in 2010) had served in the Wehrmacht, and went on to become a teacher. After retiring, he learned that the notorious SS commander Rudolf Lange, responsible for the mass murder of Jews in Latvia, came from his hometown. Schubert then set about exposing Lange’s biography, naming other local Nazi criminals.
[5] The German trauma, pp.59–86.
[6] In my post on the GDR I listed a few basic sources, not least Maxim Leo’s Red Love, a detailed and moving account of three generations in one family; and (for lives of those born under the regime) Hester Vaizey, Born in the GDR. For subversive behaviour, clothing, jokes, and so on, see also Anne Applebaum, Iron Curtain, ch.17. For the whole period in China, see here.