The Women's Orchestra of Auschwitz (Mädchenorchester von Auschwitz; lit. "Girls' Orchestra of Auschwitz") was formed by order of the SS in 1943, during the Holocaust, in the Auschwitz II-Birkenau extermination camp in German-occupied Poland. Active for 19 months—from April 1943 until October 1944—the orchestra consisted of mostly young female Jewish and Slavic prisoners, of varying nationalities, who would rehearse for up to ten hours a day to play music regarded as helpful in the daily running of the camp. They also held a concert every Sunday for the SS. A member of the orchestra, Fania Fénelon, published her experiences as an autobiography, Sursis pour l'orchestre (1976), which appeared in English as Playing for Time (1977). The book was the basis of a television film of the same name in 1980, written by Arthur Miller. Formation The orchestra was formed in April 1943 by SS-Oberaufseherin Maria Mandl, supervisor of the women's camp in Auschwitz, and SS-Hauptsturmfuhrer Franz Hössler, the women's camp commandant. The Germans wanted a propaganda tool for visitors and camp newsreels and a tool to boost camp morale. Led at first by a Polish music teacher, Zofia Czajkowska, the orchestra remained small until Jews were admitted in May 1943. Its members came from many countries, including Austria, Belgium, Czechoslovakia, France, Germany, Greece, Hungary, Poland, the Netherlands and USSR. According to professor of music Susan Eischeid, the orchestra had 20 members by June 1943; by 1944 it had 42–47 players and 3–4 musical copyists. Its primary role was to play (often for hours on end in all weather conditions) at the gate of the women's camp when the work gangs left and returned. They might also play during "selection" and in the infirmary. In the early months, the ensemble consisted mainly of amateur musicians, with a string section, accordions and a mandolin; it lacked a bass section. The orchestra acquired its limited instruments and sheet music from the men's orchestra of the main Auschwitz camp. The repertoire of the orchestra was fairly limited, in terms of the available sheet music, the knowledge of the conductor and the wishes of the SS. It played mostly German marching songs, as well as the Polish folk and military songs that Czajkowska knew. It included two professional musicians, cellist Anita Lasker-Wallfisch, and vocalist/pianist Fania Fénelon, each of whom wrote memoirs of their time in the orchestra. Wallfisch, for example, recollected being told to play