woman Teuntje Tijsse Heijnis‏‎ #51885‎, dochter van Johannes Heijnis en Maria Buijs‏.
Ook bekend als: Tirana Hennis, geboren ‎21 jan 1912 (2 Shevat 5672) Rotterdam, Zuid-Holland, Nederland‎, bron: MAILGROEP GENEALOGIE SENIORWEB, bron: Persoonskaart CBG, overleden ‎5 sep 1990 (15 Ellul 5750) Amsterdam, Noord-Holland, Nederland‎, 78 jaar, bron: Persoonskaart CBG. Beroep: zangeres, bron: Persoonskaart CBG

Gehuwd ‎7 jun 1933 (13 Sivan 5693) Rotterdam, Zuid-Holland, Nederland, bron: Gezinskaart Rotterdam
Gescheiden ‎31 jan 1941 (3 Shevat 5701) Rotterdam, Zuid-Holland, Nederland, bron: Persoonskaart CBG (7 jaar gehuwd) van:

man Levie Bannet‏‎ #51884‎, zoon van Lion Joseph Bannet en Leentje van Bueren‏.
Ook bekend als: Louis Bannet, geboren ‎15 aug 1911 (21 Av 5671) Rotterdam, Zuid-Holland, Nederland‎, bron: Gezinskaart Rotterdam, bron: Gezinskaart Rotterdam, overleden ‎2002 Toronto, Ontario, Canada‎, 90 of 91 jaar. Beroep: violist, bron: Gezinskaart Rotterdam
by courtesy of Hans Vanderwerff

The seven-year-old sat playing the violin at his window in the working class Jewish Rotterdam neighbourhood where he lived with his family. The boy – completely self-taught - found that his love for music provided a temporary escape from his impoverished environment. One day Leon Bloorman, a violin teacher at a conservatory in the city, happened to be walking by and heard the music of the young Louis Bannet. Marching upstairs to the tiny apartment, he took the child for an impromptu audition with the headmaster of the conservatory. Louis was accepted as a student and Bloorman took him under his tutelage.

As the youngest student in the conservatory, Bannet took his studies very seriously. Together with some fellow students, he founded a small orchestra that played at bar mitzvahs or busked on street corners for spare change. Such was his talent that he was selected at the age of twelve to play for the Dutch Queen Wilhemina when she visited the school in 1923.

Although he completed his studies successfully, Bannet found himself struggling to survive after his graduation. The economic environment of interwar Holland was not supportive of struggling young musicians, and he found only odd jobs playing at birthday parties or in an orchestra for silent movies. His musical development was to take a sudden turn when, for the first time, he heard a jazz album by Louis Armstrong. The music totally fascinated him; the moment the teenager held a trumpet in his hands, he knew that this was where his future lay. With the financial support of his uncle, Bannet studied the trumpet with Aaron De Vries, building his technique and listening to any record by “Louis Armstrong and his hot Five” that he could find.

After several years of building his skills at the horn, Bannet got a position as trumpet player with Anton Swan and the Swantockers, who played in the bustling dance halls and clubs of Amsterdam and The Hague. In 1934, Louis Bannet’s Rhythm Five first began to perform, including drummer Maurits von Kleef, Dick von Heuvel on vibraphone, Lex von Weren on piano and Jac de Vries on bass and saxophone. The new formation successfully toured across central Europe. Bannet added singing to his repertoire, and the papers christened him ‘The Dutch Armstrong’.

It was during the late 1930s that Bannet built his reputation as a horn player. He was not particularly concerned about the Nazis, like most of his fellow Dutch Jews: Holland’s neutrality, along with the Dutch tradition of tolerance, gave him a false confidence. On 10 May 1940 this confidence was shattered, when the German army invaded, heavily bombing Bannet’s home city. Holland surrendered quickly, and the destruction of Dutch Jewry began soon after. Non-Jewish friends quickly secured Bannet fake papers and a hiding place in the countryside. However, his success counted against him: Gestapo police recognised the musician and arrested him on 15 December 1942. After an interrogation at Gestapo headquarters, the trumpeter was taken to Westerbork, a transit camp and collecting point for Jews awaiting transports to the East.

On 22 January 1943, Bannet was forced onto a train headed for Auschwitz. He was sent to Birkenau, one of a few dozen from his shipment of hundreds to be selected for survival rather than gassing. In Birkenau he met an old friend from Rotterdam, who organised an audition for him and some other Dutch musicians with the kapo of the music block, and he was taken on as a trumpet player in the Birkenau men's orchestra. Along with several other Dutch musicians, Bannet also formed a jazz band that played for the entertainment of jazz-loving Nazis.

By the end of 1944, as the military situation was worsening for Germany and the Red Army was drawing near, the Nazis began mass evacuations of the camps. Bannet and the musicians of the orchestra were put on a cattle train for Sachsenhausen near Berlin. They went on to Ohrdruf, a satellite camp of Buchenwald, to do forced labour. Finally Bannet was transferred to Buchenwald, where overcrowding and lack of supplies had resulted in total chaos. In the spring of 1945, the exhausted and sick Bannet was sent on a final train journey, this time to Prague.

With the war over, Bannet awoke from a coma in a hospital in Prague. He recovered briefly in the liberated Theresienstadt, before being taken in June 1945 to a Displaced Persons' camp in Bamberg, Germany. Here he resumed his music-making, playing again both trumpet and violin. Soon he met a young survivor named Flora who had lost her husband in Buchenwald. They married and settled in Amsterdam, where Bannet, Maurits von Kleef and Jac de Vries briefly re-formed the “Rhythm Five”. In 1953 Bannet joined the Canadian Army as a musician, and in 1957 settled permanently with his wife and son in Canada. There he continued his musical career, recording seventeen albums ranging from jazz to Hungarian folksongs and Christmas carols. The ‘Dutch Armstrong’ died in Toronto in 2002.

Sources
Shuldman, Ken. Jazz survivor: the story of Louis Bannet, horn player of Auschwitz. London, Portland, OR: Vallentine Mitchell, 2005.

Het echtpaar Levie Bannet en Teuntje Heijnis heeft korte tijd in Den Haag gewoond, van 7 juni 1933 tot 10 november 1933 en zijn toen naar Rotterdam gegaan. In 1935 gaat hij naar Amsterdam

Gezins gebeurtenissen

2e huwelijk
woman Teuntje Tijsse Heijnis‏‎ #51885‎, dochter van Johannes Heijnis en Maria Buijs‏.

Gehuwd ‎17 jul 1946 (18 Tamuz 5706) Amsterdam, Noord-Holland, Nederland, bron: Persoonskaart CBG (44 jaar gehuwd) met:

man Samson van Weren‏‎ #58577‎, zoon van Salomon van Weren en Rosetta Waterman‏.
Ook bekend als: Lex van Weren, bron: Dick Walda, geboren ‎13 mrt 1920 (23 Adar II 5680) Den Haag, Zuid-Holland, Nederland‎, bron: Gezinskaart Amsterdam E, bron: Persoonskaart CBG, overleden ‎31 jul 1996 (15 Av 5756) Den Haag, Zuid-Holland, Nederland‎, 76 jaar, bron: Dick Walda, bron: Persoonskaart CBG. Beroep: musicus, bron: Gezinskaart Amsterdam E, ‎1e huwelijk met: Teuntje Tijsse Heijnis, 2e Gehuwd/ relatie met: Geertruida Bourgonje
Uit Wikipedia is de volgende levensbeschrijving ontleend:

Lex van Weren 1920-1996, Den Haag) was een Nederlands trompettist.

De naam Lex van Weren roept herinneringen op aan de jaren vijftig en zestig, toen van Weren als dirigent van het populaire City-theaterorkest furore maakte. Voordat de hoofdfilm begon, traden artiesten op die door het orkest 'in de bak' werden begeleid. Verder speelde van Weren jarenlang op zijn trompet voor radio en de toen in opkomst zijnde televisie. Grote populariteit verwierf hij met het belangeloos optreden voor charitatieve doeleinden, waarbij de Nacht van de Witte Bedjes vermeld dient te worden. Wegens zijn grote verdiensten voor de Nederlandse lichte muziek was hij een van de eersten die van de stichting Conamus een Gouden Harp ontvingen.

Lex van Weren kwam uit den Haag maar groeide op in Amsterdam. Hij was voor de oorlog, in 1935, op veertienjarige leeftijd begonnen in het orkest van Bernard Drukker. Hij was autodidact.

Van 1967 tot 1969 was van Weren bedrijfsleider van het Rembrandttheater.

Bijna even bekend als musicus is Lex van Weren thans vanwege zijn rol van trompettist in het vernietigingskamp Auschwitz. Na jarenlang zwijgen haalde Dick Walda hem in 1980 over om zijn ongelofelijke geschiedenis, als gevangene nummer 163848, te vertellen. In mei 1989 schonk Lex van Weren zijn vanuit Auschwitz meegebrachte kornet aan het Herinneringscentrum Kamp Westerbork.

Voordat van Weren via Westerbork naar het 'Oosten' wordt afgevoerd, wordt hij in de Hollandse Schouwburg door de Joodse raad aangesteld om de kinderen van de opgeroepenen aldaar te vermaken. Met Jo Spier maakt hij wandelingetjes met de kinderen en die uit de naastgelegen cr?che. Tijdens die wandelingetjes 'verdwijnen' altijd een paar kinderen. Een truc van zijn 'baas' Walter S?skind.

--- De ouders van Lex van Weren, t.w. Sal van Weren, koopman, en Rosetta van Weren-Waterman, huisvrouw en zijn broer Louis, vertegenwoordiger te Rotterdam, kwamen niet terug uit de Shoah. Zij werden op 22 oktober 1943 resp. 21 januari 1944 in Auschwitz vergast.

--- Na zijn pensionering speelde Lex van Weren kleine rollen en trad hij op als 'edelfigurant' in diverse films. Zo was hij in 1991 te zien als de vader van de in politiedetentie gestorven kraker Hans Kok in het docudrama van Barbara den Uyl 'In Naam der Wet' (Van der Hoop Films, Amsterdam).



Gezins gebeurtenissen
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