Saving Mozart

by Raphaël Jerusalmy

Overview

A novel of one dying man’s act of defiance against the Nazis. “This slender, confident debut novel is deliciously atmospheric and tense” (Financial Times).

Raphaël Jerusalmy’s debut novel takes the form of the journal of Otto J. Steiner, a former music critic of Jewish descent suffering from tuberculosis in a Salzburg sanatorium in 1939. Drained by his illness and isolated in the gloomy sanatorium, Steiner finds solace only in music. He is horrified to learn that the Nazis are transforming a Mozart festival into a fascist event. Steiner feels helpless at first, but an invitation from a friend presents him with an opportunity to fight back. Under the guise of organizing a concert for Nazi officials, Steiner formulates a plan to save Mozart that could dramatically change the course of the war.

“A dazzling, striking debut, as intriguing as its author . . . a compelling success.” —L’Express

“Steiner’s fictional diary is a brief but powerful story about a brave feat recorded for a son Steiner will never see again.”—Historical Novel Society

“If we can imagine a part of the contents [of the intimate journal kept by Steiner], in direct relation to the somber reality of the period, it does not reserve fewer considerable surprises that situate it well beyond a simple chronicle of the time.”—L’Humanité

“The strength of Saving Mozart is its focus on one man’s limited experience of horror.”—Three Guys One Book

“Reads like an unexpected gift.”—The Big Issue

Product Details

ISBN-13:	9781609451455
Publisher:	Europa Editions, Incorporated
Publication date:	11/05/2013
Pages:	120
Product dimensions:	8.24(w) x 5.42(h) x 0.39(d)
Age Range:	18 Years

About the Author

Raphaël Jerusalmy is a graduate of the Ecole Normale Supérieure and the Sorbonne, has made a career in the Israeli military intelligence before conducting humanitarian operations and education. He is now old book dealer in Tel Aviv. Saving Mozart is his first novel.

What People are Saying About This

From the Publisher

"With its sober, sarcastic tone and feverish rhythm, this concerto of a single voice is undeniably a success."
—L'Express

"If we can imagine a part of the contents [of the intimate journal kept by Steiner], in direct relation to the somber reality of the period, it does not reserve fewer considerable surprises that situate it well beyond a simple chronicle of the time."
—L'Humanité

Interviews

A Conversation with Raphael Jerusalmy, Author of Saving Mozart

Saving Mozart is structured in diary form and introduced as "The Diary of Otto J. Steiner (July 1939—August 1940)." Were the events in the diary inspired by real people?

Saving Mozart states that anyone of us has the power to fight injustice. The diary of Otto Steiner takes this notion to the extreme. Otto is the least likely candidate for heroic action, yet by one single non-violent gesture, this solitary man will succeed in perpetrating a most uncommon act of resistance.

Saving Mozart also states that seemingly insignificant events often go against or even transcend the course of history. As an Israeli Defense Forces officer, I have witnessed many such events in the field—surrealistic moments filled with intense human emotion. The plot is built around true facts which recently took place in the Middle East, such as an Egyptian general picking up a violin and playing Fiddler on the Roof melodies to a group of Israeli officers during a security-related encounter.

Were there any constraints or freedoms you found when writing an epistolary novel?

A diary, as opposed to a narrative, forces us into the present. There is no distance, no safety net, no time to think in retrospect—not for the main character and not even for the reader. Otto is not profuse in his style of writing. A lot is left unsaid and is meant to be guessed or intuitively felt by the reader. The unsaid is also responsible for the atmosphere of dry cynicism pervading the diary. What is said, on the other hand, is said with acute precision. The meaning and emotion contained in each and every word is extracted to the full. Even when Otto simply notes his tenants paid rent on time, a full range of understatements and feelings is evoked.

In many Holocaust narratives, the characters take refuge in art, like music or literature. Why do you think that music is a recurring theme in many of these narratives?

Music constantly hovers above the diary of Otto. It is sensed rather than heard, especially once Otto is deprived of his gramophone. It becomes the ultimate literary tool because it transcends language.

Did you keep musical rhythm in mind when writing Saving Mozart?

Music is also a character in its own right. It evolves along with the plot, from sheer apathy to downright revolt, just like Otto. One must remember that whether played at military parades or at the gates of Dachau, music is a part of the Nazi era, often times as an accomplice. Even though it will turn into the last stronghold of freedom and dignity, music is being brought to trial, as are faith and culture. Rather than Hitler or any particular regime, it is this trial that gives the novel its subversive streak.
Since your novel ends in 1940, Otto can only comment on certain events that have already taken place, like the Nazi occupation of France. Do you think this has a different effect on readers, as opposed to other novels that see a character through the entirety of the Holocaust?

The diary of Otto ends in 1940 for two reasons. The first is that the case of the Holocaust remains open to this day. We are just as confused and helpless today as Otto was in 1939. Ironically, it is he that comes to our rescue. That leads us along the path he chose to take and shows us how to put a smile on the lips of our destiny. The second reason is that Saving Mozart is not a book about the Holocaust— is a tale for today. Dedicated to the memory of a little Jewish boy from my family who was murdered in Auschwitz, it sings the victory of life.

Who have you discovered lately?

I have very much enjoyed Peter Heller's debut novel The Dog Stars which offers a definite taste of suspense and adventure while depicting the human condition at large. I especially liked the second main character, Bangley, perhaps because he is not unlike Otto Steiner—a hard exterior with a compassionate heart, a selfish rough type capable of sacrifice, etc. You also feel an immense love of nature and all living things and even learn a few survival tricks that might come in handy since Heller makes these apocalyptic circumstances quite credible. The inner monologues of the hero Jasper and the various dialogues are very alive, full of funny but very true remarks and some winks to the reader that bring smiles even during the most arduous times or moments of despair. It is a tale of unabated optimism written with heart while avoiding soap opera clichés. It pays homage to the great American tradition of adventure and epics (Fennimore Cooper, Melville) with its symbolism while also addressing issues of our time.