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Let’s be done with the Resistance that cries, because the real, because the only Resistance, is the one that sings like the future, that sings like a sunny morning, like the youth that is coming, that sings like the birth of an idea, like an act of deliverance, that sings like a clear blue sky ... true Resistance is the one that sings, that sings of tomorrows; the true Resistance, is that of the people of tomorrow ... Thirteen-hundred songs ... constitute one of the most astonishing folklores humanity has known ... Our martyrs had in their eyes a clear triumph and on their lips a song. It is beautiful that France knew how to smile and knew how to sing during its period of most profound sorrow. It is the most beautiful proof of her force and the most durable mark of our immortal spirit. No, the Resistance is not dead: she comes alive in songs. Dedicated to all our comrades, here is La Resistance qui chante.

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Paul Arma (1905-1987) is a crucial figure in the history of French Resistance music, both because of the songs he composed and because of his efforts to preserve the enormous body of music created during the war. Arma saw Resistance songs not just as sources of hope and acts of wartime courage, but also as important artefacts to be saved.

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Paul Arma (Composer, Arranger) - Short Biography

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Biography, Bach Connection, Bach-related Works and Pictures of the artist

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His set of 11 songs were used to reflect on justice and man's destiny over the terrors of war

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Share your videos with friends, family, and the world

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The Late Works of György Ligeti (1923–2006)

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by Michael Schell The Pacific Northwest seems in the midst of a Ligeti boom. Last year the Seattle Symphony presented the regional premiere of his Requiem, along with a live-music presentation of Kubrick’s 2001: A Space Odyssey, which features music from the Requiem and three other Ligeti scores

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The way the song was composed was to represent the feeling of heavy sorrow and sadness leaving the feeling of a void.

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Art Pual Arma had made before becoming a full musician 

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Art Pual Arma had made before becoming a full musician 

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“My music bears the imprint of a long time spent in the shadow of death”, Ligeti later said, “both as an individual and as a member of a group. Not that it lends a tragic quality to my music, quite the opposite. Anyone who has been through horrific experiences is not likely to create terrifying works of art in all seriousness. He is more likely to alienate.”

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A survivor from Transylvania: the life of György Ligeti

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Ligeti’s early life was deeply eventful and traumatic. Biographer Richard Steinitz describes writing Ligeti’s biography – and the alienated and abstracted imprint it left on his music.

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Gyorgi Ligeti was a man born in 1920's in the middle of a war with neighboring countries trying to take over his homeland of Transylvania. Being born as a Hungarian-Jew many challenges were up head in his life.

He had grown up loving music and started to pick it up at a young age with starting piano lessons and compose his own music.

After the war Legiti fled Hungary efore finally settling in Vienna.

He later died on June 12, 2006

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Ligeti's sense of not having a place of having a identity with his culture 

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Ligeti's sense of not having a place of having a identity with his culture 

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"… My mother tongue is Hungarian, but I am not a completely genuine Hungarian since I am Jew. However, I am not a member of the Jewish community, i.e. I am an assimilated Jew. At the same time, I am not completely assimilated since I was not baptized. Today, being an outgrown person, I live in Austria and Germany being an Austrian citizen. However, I am not a genuine Austrian, only an immigrant, and my German life-long remains Hungarian-coloured.

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Requiem by Győrgy Ligeti: The Testimony of a Holocaust Survivor

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Requiem by Győrgy Ligeti: The Testimony of a Holocaust Survivor

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Chants du Silences effect on the public 

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Chants du Silences effect on the public 

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The distribution of the songs had been seen as resistance the songs emotional depth and literary quality provided solace and solidarity to those suffering under Nazi oppression.

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Ligetie's music had a great effect on the masses with it being composed after the Holocaust leaving many emotions of reflection with the sound choice he decided to use.

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How Ligeti was treated while Hitler was there

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How Ligeti was treated while Hitler was there

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During the period with Hitler invading Ligeti was treated as a full Jew and faced actions. In 1944 many Hungarian Jews were sent to work at camps, him and his mother were the only survivors in his family.

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He was born on May 27, 1905 in Braila, later after World War one he started to pursuit his education in music.

Later in 1941 he was one of the first people to be sent to Terezin he continued his musical activity by singing in the barracks. In 1942 he had organized a choir, due to the growth of the group a women's group was formed. Before he was moved to Auschwitz he performed his Requiem.

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Pual Arma was a man born in 1904 Hungary.

Later in his life he had moved to Europe and had dropped his artist career to become a full time orchestral conductor and choir-master in Germany. In 1933 he had fled to France after almost being arrested by the SS for spying against the Germans and stayed there working on songs such as ‘Madrid’ and ‘No pasaran’ (Do not pass). Later when the Nazis had arrived in France he composed a song titled ‘Les chants du silence’ (Songs of silence).

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The effect that the singer had while performing the requiem was a way for them to express being able to have some humanity back while preforming giving a sense of of shared purpose.

As they preformed the Nazis didn't grasp the importance that the song they were singing was and decided to use it as a way of propaganda and didn't see it as what it truly was as being propaganda.

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We will sing to the Nazis what we cannot say to them.” The song included the following lines: “When the judge takes His seat, all that is hidden will appear. Nothing will remain unavenged."

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After many of his shows that were played he was sent to Auschwitz in 1944 along with many members of his choir.