When I was in Russia last October I met a woman named Alexandra in the Komsomol archive. Last year, I wrote about how she was researching “Komsomol capitalism” for an article she was writing for Der Spiegel.
One of the things I didn’t mention was her claim that her father, who turns out to be Lev Besymenski, had been one of the Russian officers to search Hitler’s bunker. Like many Russians, he took souvenirs back with him. But Besymenski didn’t simply grab cutlery and other trinkets. He took something closer to his passion: music. More specifically, 100 shellac specimens from Hitler’s private record collection.
Alexandra claimed that one summer she stumbled upon a collection in their dacha’s attic. The collection consisted of classical and opera music by Russian and Jewish composers. I remember who she expressed disgust at the at Hitler’s hypocrisy at being a fan of those he considered subhuman. I didn’t know what to think of this story at the time (In addition to the Hitler record story, she also said that she was friends with Condoleezza Rice among other things). Frankly, I didn’t know whether to believe her or not. To be polite and for the sake of interesting conversation, I went with it and told her that these records were probably quite valuable. She seemed surprised that anyone would have any interest in these artifacts.
It turns out that Alexandra was telling the truth. Lev Besymenski died in June and Alexandra made the collection available to Der Spiegel for perusal. Here is what they found:
Hitler’s second passion, after architecture, was music. He went to the opera house almost daily during his time in Vienna to listen to the music of Beethoven, Wagner, Liszt or Brahms. But to him, only German music counted. Yet Besymenski’s collection astonishingly contains works by composers the Nazis considered “subhumans,” including Russian composers such as Pyotr Tchaikovsky, Alexander Borodin and Sergei Rachmaninov. For example, the item with the inventory number “Führerhauptquartier 840” contains a recording by the Electrola company labeled “Bass in Russian with Orchestra and Chorus” — a recording of the aria “The Death of Boris Godunov” by Russian composer Modest Mussorgsky, sung by Russian bass Feodor Chaliapin.
Another album contains nothing but works by Tchaikovsky with solo performances by star violinist Bronislav Huberman, a Polish Jew. “I feel this is a sheer mockery of the millions of Slavs and Jews who had to die because of the racial ideology of the Nazis,” a stirred-up Alexandra Besymenskaya remarks today.
It just goes to show that you never know who’ll you’ll meet, let along hear, in a Russian archive.
