Watch me introduce a performance of “Zol shoyn kumen di geule,” written by Holocaust survivor to express hope and optimism for a better future.

Watch me introduce a performance of the Yiddish song “Zog nit keynmol,” which is widely recognized as “The Partisan Song.” During the Holocaust, the Partisan Song became something of an anthem of spiritual resistance in ghettos and concentration camps.

Watch me introduce a performance of “My Yiddishe Momme.” This was one of several Jewish melodies that violinist Feivel Wininger played in the ghettoized Romanian territory of Transnistria during the Holocaust to bring comfort to himself as well as to his friends and family members.

Watch me introduce a performance of the Kirkenes March, composed by an exiled Jewish musician to celebrate the first Norwegian town to be liberated from Nazi tyranny. At the premiere of the Kirkenes March, the violin was played by Ernst Glaser, who is the subject of Chapter 4 of Violins of Hope.

Watch me introduce a performance of “Three Warsaw Polonaises,” a work that was played by Jewish prisoners in Auschwitz. Since Polish music had been forbidden by the Nazi regime, the musicians would play the polonaises in secret. For the prisoners, playing the polonaises was not just a way of remembering their homeland. It was a way to show that they would not completely bend to Nazi prejudices.

Watch me introduce a performance of the “Dachau Song,” which was composed by Herbert Zipper in Dachau. Inspired by the “Work Makes You Free” sign that welcomed the prisoners back to camp every day after twelve hours of hard labor, the Dachau Song sarcastically encouraged them to “stay humane,” “be a man,” and “work as hard as you can,” regardless of the harsh realities of camp life.

Watch me introduce a performance of the song “Vu ahin zoll ikh geyn” (Where shall I go?). During the Holocaust, the song became popular among Jews who had been forced from their jobs and their homes. Like the musicians of the Palestine Orchestra before Huberman’s intervention, they had nowhere to go.

Watch me introduce a performance of “Shtiler, Shtiler.” The Holocaust song was written in the Vilna Ghetto, where Amnon Weinstein’s family members were confined before being taken to the Ponary forest and murdered.