The German chapter of the Romantic era was a groundbreaking one, with a concentration of folk music and legends, a treasure largely ignored by the educated class. Such ethnological material turned out to be immensely prolific, with results such as Des Knaben Wunderhorn, a collection by Clemens Brentano and Achim von Arnim with music by Gustav Mahler, or Hans Krása’s adaptations from tales by the Brothers Grimm, Hansel and Gretel and The Town Musicians of Bremen. The weak, vulnerable heroes of such tales emerge victorious through solidarity, intelligence, and stratagems operated on those who hold the power to inflict death. Such is the message contained in Brundibár, created by and for children, first performed at the Terezín ghetto in 1942. Director Jeanne Candel describes the piece at as “an experience of resistance”. Whatever the outcome, resistance is essential. Krása died in 1944 in the Auschwitz gas chambers, because he was Jewish and considered to be a “degenerate musician”; yet his work has survived.