Music in the Third Reich

Overview

In this authoritative study, one of the first to appear in English, Erik Levi explores the ambiguous relationship between music and politics during one of the darkest periods of recent cultural history. Utilising material drawn from contemporary documents, journals and newspapers, he traces the evolution of reactionary musical attitudes which were exploited by the Nazis in the final years of the Weimar Republic, chronicles the mechanisms that were established after 1933 to regiment musical life throughout Germany...
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Overview

In this authoritative study, one of the first to appear in English, Erik Levi explores the ambiguous relationship between music and politics during one of the darkest periods of recent cultural history. Utilising material drawn from contemporary documents, journals and newspapers, he traces the evolution of reactionary musical attitudes which were exploited by the Nazis in the final years of the Weimar Republic, chronicles the mechanisms that were established after 1933 to regiment musical life throughout Germany and the occupied territories, and examines the degree to which the climate of xenophobia, racism and anti-modernism affected the dissemination of music either in the opera house and concert hall, or on the radio and in the media.
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Editorial Reviews

Booknews
Bringing to light the relationship between music and politics in a dark period of culture, Levi (music, U. of London) documents the reactionary musical attitudes of the late Weimar Republic and how the Nazi regime exploited them to regiment music in Germany and the occupied countries, injecting xenophobia, racism, and anti-modernism into opera houses, concert halls, radio, and news media. Annotation c. Book News, Inc., Portland, OR (booknews.com)
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Product Details

  • ISBN-13: 9780312129484
  • Publisher: Palgrave Macmillan
  • Publication date: 5/28/1996
  • Edition description: REPRINT
  • Pages: 320
  • Product dimensions: 5.32 (w) x 8.38 (h) x 0.99 (d)

Table of Contents

List of Tables and Figures
Acknowledgements
Introduction
1 Conservative Musical Reaction in the Weimar Republic, 1919-33 1
Reactionary musical attitudes, 1919-23 3
The re-opening of Bayreuth and the Zeitschrift fur Musik 5
The rise of National Socialism and its influence upon musical life 8
2 Music and State Control 14
Towards the Gleichschaltung (Co-ordination) of musical life: the struggle between Goebbels and Rosenberg 15
Goebbels, the Reichsmusikkammer and the Ministry of Propaganda, 1934-9 24
Obstacles to Goebbels's authority 34
Music and state control during the War 36
3 Anti-Semitism 39
The Removal of the Jews: 1933 and beyond 41
The Kulturbund deutscher Juden and music in the Ghetto 49
Anti-Semitic musical propaganda 57
Redrawing the repertoire: the Aryanisation of music 70
4 Entartete Musik: The War Against Modernism 82
The Nazi purge of modernist repertoire in 1933 85
The Allgemeiner Deutscher Musikverein (ADMV): a test case 89
The Entartete Musik Exhibition 94
Internationalism 98
Atonality 102
Neue Sachlichkeit: Hindemith and other Germans 107
Jazz 119
5 Technology Serves Music: Radio and Recording during the Third Reich 124
The radio 126
Recording 139
6 Responding to the Market: Music Publishing in the Third Reich 147
Politicised music publications 149
The suppression of Jewish music publishers 156
The pre-eminence of Schott 159
Successes of the period and its legacy 163
7 Conformity or Challenge: The Opera House in the Third Reich 166
Opera in the Weimar Republic, 1927-33 166
The Nazi take-over: from Preussischer Theaterausschuss to Reichstheaterkammer 170
The Reichstheaterkammer: limitations of bureaucracy and artistic policy in Dresden, Frankfurt and Berlin 175
Perspectives of repertoire, 1933-45 182
An overall assessment of operatic repertoire in the Third Reich 191
8 Continuity or Change: The Symphony Orchestra and its Repertoire 195
The Berlin Philharmonic Orchestra 197
Orchestras in Dresden, Leipzig, Hamburg and Munich 203
The Kampfbund Orchestras and the National Socialist Reichs Symphony Orchestra 207
Orchestras in the occupied territories 210
A general note about repertoire 215
9 Rewriting Musical History: Music Literature and the Musical Press 220
The racial argument 221
Music histories after 1933 223
Musical biographies 226
The musical press, 1933-9 228
The musical press during the war 237
Notes and References 243
Glossary 265
Chronology 267
Bibliography 281
Index 286
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