Free The Holocaust Opera by Mark Edward Hall Page B

jeopardize whatever chances they had at survival. There was no single formula for survival in the death camps, but Aaron was keenly aware of how lucky they were, compared to most of the prisoners, and that any sort of insubordination on his part would mean a one-way ticket to the gas chambers.
    Mengele’s command post contained a piano, a bar, all of the luxuries the other prisoners could only dream about. He allowed the young Gideon couple to live in a small cabin next door, let them bathe, and fed them well. During the day, while Mengele was occupied with his other duties, Aaron and Eva worked on the compositions. Brawne was most always there and in time she became more outgoing and began to initiate dialogue with the Gideons. They both liked her, but were always careful of what they spoke of, especially in front of the guards who were sometimes in the room with them. The exact nature of her relationship to Mengele was unclear, although they suspected she and Mengele were lovers.
    In the evenings, Mengele dressed Aaron in tuxedoes, Eva and Brawne in evening gowns, as though they were actors in some warped drama and Mengele was its supreme maestro. Aaron did not question Mengele’s eccentricities; instead he played along, and observed, and wondered, and worried.
    Together, they worked tirelessly on the body of music. Mengele seemed pleased with their progress and assured Aaron and Eva that their continued cooperation would be rewarded. Aaron was no fool. Although he did not believe Mengele’s reassurances, he had no other choice but to go along and pray for miracles.
    In time, however, the music began to affect them all in ways that Aaron did not understand. He and Mengele had been experimenting with harmonic tones inside the structures of the songs and finally began to understand how they could be discreetly placed into the compositions. The tones were so subtle that they added no discernable differences in the compositions from the viewpoint of a casual listener. There were definite and noticeable differences in listeners who were exposed to the songs over a period of time.
    The addition of these peculiar tones caused headaches and depression in all of them. Mengele became irrational and began to abuse Brawne verbally. He pushed the sessions to the very limits of emotional and physical endurance. Aaron did not like the changes in Mengele and he liked even less what Mengele was forcing him to do. He’d never imagined that music could be manipulated in such a way, and he was horrified that Mengele was so devious, so barbaric, that he would consider using the muse as weapon.
    As each session closed, Mengele seemed to be slipping further and further away from rational thought. As a buffer against the sickness and the negative compulsions, he began to drink heavily, and with intoxication he became even more belligerent and abusive. Brawne seemed to be the one taking the brunt of his rage, for she began to show signs of physical abuse. Aaron became convinced that Mengele’s sanity was slipping even as he fought to hold onto his own.
    In those days, Aaron rarely saw his father, but realized that a position in the camp orchestra had spared Abraham, at least for the time being. So he played along, biding his time, hoping that he could keep his own sanity intact long enough to take advantage of an opportunity to escape if one should arise.
    As Mengele’s rationality eroded, he began to pay more and more attention to Eva. As he coached her singing, he would hold his body close to hers. All the while, Eva would steal terror-filled glances at Aaron. Brawne would avert her eyes, as if in shame, not daring to look upon Mengele and his blatant misbehavior.
    Aaron was furious with rage and jealousy and he was nearly crazy with hate for Mengele. There was nothing he could do. There was nothing any of them could do. Mengele held omnipotent sway over everyone in camp and not a soul dared question his authority.
    One night, after a