Music in the War Zone
The military leadership wanted the fighting forces to experience as much of that “normalcy” as possible, even though the environments surrounding the soldiers were very different from those of people living in their homes. Music for the servicemen (and women), whether in training camps or in active service, was a means of escape—a way to forget briefly the discomforts and sometimes horror that they faced on a daily basis. It was feasible to share some of the nation’s normal domestic musical activities with soldiers, but other experiences had to be adapted to their particular circumstances.
The military leadership wanted the fighting forces to experience as much of that “normalcy” as possible, even though the environments surrounding the soldiers were very different from those of people living in their homes. Music for the servicemen (and women), whether in training camps or in active service, was a means of escape—a way to forget briefly the discomforts and sometimes horror that they faced on a daily basis. It was feasible to share some of the nation’s normal domestic musical activities with soldiers, but other experiences had to be adapted to their particular circumstances.
The USA’s USO
Once it was clear that America would be entering World War II, President Roosevelt became concerned about morale; he wanted to keep the soldiers in touch with their civilian lives. Nearly a year before the Pearl Harbor attack, a committee led by President Roosevelt founded the United Service Organizations (USO), a private, non-profit agency who opened facilities in 3,000 communities to welcome lonely soldiers; they “provided a chance to dance, chat, write letters, watch movies, or simply find quiet solace. Plus, they always served hot coffee and doughnuts.”
Once it was clear that America would be entering World War II, President Roosevelt became concerned about morale; he wanted to keep the soldiers in touch with their civilian lives. Nearly a year before the Pearl Harbor attack, a committee led by President Roosevelt founded the United Service Organizations (USO), a private, non-profit agency who opened facilities in 3,000 communities to welcome lonely soldiers; they “provided a chance to dance, chat, write letters, watch movies, or simply find quiet solace. Plus, they always served hot coffee and doughnuts.”
Taking It on the Road
Once centers were established, the USO aimed to serve larger groups via traveling entertainment. These USO Camp Shows were presented in large venues, small military bases, hospitals, and close to the front lines. Among the ranks of performers were Hollywood stars, concert artists, and established big bands. Musicians and other entertainers, such as dancers, comedians, and acrobats traveled widely and sometimes performed in dangerous settings. Still, the inconveniences seemed worth it after hearing the ecstatic responses from the troops. One young soldier in Northern Burma tried to describe his reaction in late 1944, saying
Once centers were established, the USO aimed to serve larger groups via traveling entertainment. These USO Camp Shows were presented in large venues, small military bases, hospitals, and close to the front lines. Among the ranks of performers were Hollywood stars, concert artists, and established big bands. Musicians and other entertainers, such as dancers, comedians, and acrobats traveled widely and sometimes performed in dangerous settings. Still, the inconveniences seemed worth it after hearing the ecstatic responses from the troops. One young soldier in Northern Burma tried to describe his reaction in late 1944, saying
OPEN LETTER TO THE USO
Through the medium of a traveling Camp Show, five girls put laughter and memories into the hearts of nearly 500 lonely GIs—GIs who have not seen a beautiful American girl in two years, some cases longer… It was a miracle—a temporary Shangri-La— where their cares and worries could be dispersed. ...A half hour after the performance the men were still sitting in the rain, still applauding … So to these five girls, and all like them—and to the USO-Camp Shows, which made it possible, I say thanks. Thanks for doing a swell job. I only hope that there are more at home like you!
Through the medium of a traveling Camp Show, five girls put laughter and memories into the hearts of nearly 500 lonely GIs—GIs who have not seen a beautiful American girl in two years, some cases longer… It was a miracle—a temporary Shangri-La— where their cares and worries could be dispersed. ...A half hour after the performance the men were still sitting in the rain, still applauding … So to these five girls, and all like them—and to the USO-Camp Shows, which made it possible, I say thanks. Thanks for doing a swell job. I only hope that there are more at home like you!
Music in the Ranks
Music in the Camps: Comfort and Torture
During the war, captured soldiers and many other people were housed in camps, both among the Allies and within the Axis nations. The United States established many prisoner-of-war camps, and entertainment like music helped to keep the population settled. Camps had Music Committees comprised of prisoners, and they would recruit musicians from among the inmates to put on concerts and even operas.
Music in the Camps: Comfort and Torture
During the war, captured soldiers and many other people were housed in camps, both among the Allies and within the Axis nations. The United States established many prisoner-of-war camps, and entertainment like music helped to keep the population settled. Camps had Music Committees comprised of prisoners, and they would recruit musicians from among the inmates to put on concerts and even operas.
Although some works were penned by men in uniform, these composers were “free” (not imprisoned) when their works were written. The situation was very different for a French soldier, Olivier Messiaen (1908–92), who composed Listening Example 14—Olivier Messiaen’s Quartet for the End of Time—while incarcerated in Stalag VIII-A, a German POW camp near the town of Görlitz, Silesia.78 A sympathetic guard, Karl-Albert Brüll, agreed to smuggle in manuscript paper and pencils to him, allowing Messiaen to continue composing. Moreover, Brüll “stationed” Messiaen in a deserted barrack, with a guard at the door, so that he could write without interruption. Messiaen later remarked on how liberating it was to compose, leaving the awful reality of his circumstances behind: “It was to escape from the snow, from the war, from captivity, and from myself. The greatest benefit that I drew from it was that in the midst of thirty thousand prisoners, I was the only man who was not one.”
Music had been performed in the camp before, but never music that had been composed there. Before the four men played the Quartet, Messiaen gave a lecture discussing the piece. The assembled audience listened in a reverential silence to the Quartet; some were bewildered, others profoundly moved. Not long after the première, Messiaen was released; Brüll had assisted him yet again by forging the necessary documents. The Quartet score escaped with him and has become a testament to the triumph of artistic freedom even in the darkest of circumstances.
Listening Companion - Listening Example 14:
Quartet for the End of Time, Mvt. I
“Liturgie De Cristal” (1940) Olivier Messiaen
Quartet for the End of Time, Mvt. I
“Liturgie De Cristal” (1940) Olivier Messiaen
Many of the prisoners in the audience thought that Messiaen’s title referred to the “time” of their imprisonment—that it looked forward to their liberation. Instead, Messiaen was influenced by Chapter 10 of the last book of the Bible, the Book of Revelation, in which St. John describes the Apocalypse. Messiaen wrote in the score of the Quartet, “In homage to the Angel of the Apocalypse, who raises his hand heavenwards saying ‘There will be no more Time.’” As Alex Ross notes, “Messiaen responded to the mechanized insanity of the Second World War by offering up the purest, simplest sounds he could find.”
[A video of the full quartet, 52 minutes long, is available at
[A video of the full quartet, 52 minutes long, is available at