Considering the concept of memory writing and based on the voices of three survivors of the Nazi concentration and death camps, this essay formulates its sensitive landscape. Exploring the relationships between literature and music – specially between some aspects of musical fugue (subject, counter-subject, theme, answer, improvisation) and the following texts –, it intends to hear a little bit of Paul Celan (the poem Death Fugue), Primo Levi (excerpt from the book The Truce) and Helga Weiss (the drawing Checking for Lice), in order to unravel the sound tangle created by the interaction between the works in discussion. During the process, some provocations from Levi’s essay “On Obscure Writing” are commented as an attempt to clearly differ the three voices, on one hand, and to own the intrinsic noise of the encounter of the three concentracionary narratives, on the other hand, reporting the foundational – and somehow obscure– polyphony that doesn t threat the melodyc power of each voice.