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Michael H. Kater,Distinguished Research Professor of History at the Centre for German and European Studies Michael H Kater
Author : Michael H. Kater,Distinguished Research Professor of History at the Centre for German and European Studies Michael H Kater Publisher : Oxford University Press on Demand Page : 414 pages File Size : 52,8 Mb Release : 2000 Category : Biography & Autobiography ISBN : 9780195099249
Composers of the Nazi Era by Michael H. Kater,Distinguished Research Professor of History at the Centre for German and European Studies Michael H Kater Pdf
How does creativity thrive in the face of fascism? How can a highly artistic individual function professionally in so threatening a climate? The final book in a critically acclaimed trilogy that includes Different Drummers (OUP 1992) and The Twisted Muse (OUP 1997), this is a detailed study of the often interrelated careers of eight outstanding German composers who lived and worked amid the dictatorship of the Third Reich: Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss. Noted historian Michael H. Kater weighs issues of accommodation and resistance to ask whether these artists corrupted themselves in the service of a criminal regime -- and if so, whether this is evident in their music. He also considers the degrees to which the Nazis poetically, socially, economically, and aesthetically succeeded in their treatment of these individuals, whose lives and compositions represent diverse responses to totalitarianism.
DIV With National Socialism's arrival in Germany in 1933, Jews dominated music more than virtually any other sector, making it the most important cultural front in the Nazi fight for German identity. This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation. Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1933, at their increasingly precarious position in Nazi Europe, their forced emigration before and during the war, their ambivalent relationships with their countries of refuge, such as Britain and the United States and their contributions within the radically changed post-war music environment. /div
The Inextinguishable Symphony by Martin Goldsmith Pdf
NOW AN ACCLAIMED DOCUMENTARY, Winter Journey Set amid the growing tyranny of Germany's Third Reich, here is the riveting and emotional tale of Günther Goldschmidt and Rosemarie Gumpert, two courageous Jewish musicians who struggled to perform under unimaginable circumstances—and found themselves falling in love in a country bent on destroying them. In the spring of 1933, as the full weight of Germany's National Socialism was brought to bear against Germany's Jews, more than 8,000 Jewish musicians, actors, and other artists found themselves expelled from their positions with German orchestras, opera companies, and theater groups, and Jews were forbidden even to attend "Aryan" theaters. Later that year, the Jüdische Kulturbund, or Jewish Culture Association, was created under the auspices of Joseph Goebbels's Ministry of Public Enlightenment and Propaganda. Providing for Jewish artists to perform for Jewish audiences, the Kulturbund, which included an orchestra, an opera company, and an acting troupe, became an unlikely haven for Jewish artists and offered much-needed spiritual enrichment for a besieged people—while at the same time providing the Nazis with a powerful propaganda tool for showing the rest of the world how well Jews were ostensibly being treated under the Third Reich. It was during this period that twenty-two-year-old flutist Günther Goldschmidt was expelled from music school because of his Jewish roots. While preparing to flee the ever-tightening grip of Nazi Germany for Sweden, Günther was invited to fill in for an ailing flutist with the Frankfurt Kulturbund Orchestra. It was there, during rehearsals, that he met the dazzling nineteen-year-old violist Rosemarie Gumpert—a woman who would change the course of his life. Despite their strong attraction, Günther eventually embarked for the safety of Sweden as planned, only to risk his life six months later returning to the woman he could not forget—and to the perilous country where hatred and brutality had begun to flourish. Here is Günther and Rosemarie's story, a deeply moving tale of love and the remarkable resilience of the human spirit in the face of terror and persecution. Beautifully and simply told by their son, National Public Radio commentator Martin Goldsmith, The Inextinguishable Symphony takes us from the cafés of Frankfurt, where Rosemarie and Günther fell in love, to the concert halls that offered solace and hope for the beleaguered Jews, to the United States, where the two made a new life for themselves that would nevertheless remain shadowed by the fate of their families. Along with the fate of Günther and Rosemarie's families, this rare memoir also illuminates the Kulturbund and the lives of other fascinating figures associated with it, including Kubu director Kurt Singer—a man so committed to the organization that he objected to his artists' plans for flight, fearing that his productions would suffer. The Kubu, which included some of the most prominent artists of the day and young performers who would gain international fame after the war, became the sole source of culture and entertainment for Germany's Jews. A poignant testament to the enduring vitality of music and love even in the harshest times, The Inextinguishable Symphony gives us a compelling look at an important piece of Holocaust history that has heretofore gone largely untold.
Department of History York University Michael Kater Distinguished Research Professor
Author : Department of History York University Michael Kater Distinguished Research Professor Publisher : Oxford University Press, USA Page : 345 pages File Size : 45,7 Mb Release : 1996-12-19 Category : Music ISBN : 9780199774517
The Twisted Muse : Musicians and Their Music in the Third Reich by Department of History York University Michael Kater Distinguished Research Professor Pdf
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in Michael Kater's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small--from Valentin Grimm, a struggling clarinetist, to Richard Strauss, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology.
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.
Anneliese Landau's Life in Music: Nazi Germany to Émigré California by Lily E. Hirsch Pdf
A detailed and moving account of the life of Anneliese Landau, who, in Nazi Germany and later in émigré California, fought against prejudice to do notable work in music.
What happens to a composer when persecution and exile means their true music no longer has an audience? In the 1930s, composers and musicians began to flee Hitler’s Germany to make new lives across the globe. The process of exile was complex: although some of their works were celebrated, these composers had lost their familiar cultures and were forced to navigate xenophobia as well as entirely different creative terrain. Others, far less fortunate, were in a kind of internal exile—composing under a ruthless dictatorship or in concentration camps and ghettos. Michael Haas sensitively records the experiences of this musical diaspora. Torn between cultures and traditions, these composers produced music that synthesized old and new worlds, some becoming core portions of today’s repertoire, some relegated to the desk drawer. Encompassing the musicians interned as enemy aliens in the United Kingdom, the brilliant Hollywood compositions of Erich Wolfgang Korngold, and the Brecht-inspired theater music of Kurt Weill, Haas shows how these musicians shaped the twentieth-century soundscape—and offers a moving record of the incalculable effects of war on culture.
Winner of the 2007 National Book Critics Circle Award for Criticism A New York Times Book Review Top Ten Book of the Year Time magazine Top Ten Nonfiction Book of 2007 Newsweek Favorite Books of 2007 A Washington Post Book World Best Book of 2007 In this sweeping and dramatic narrative, Alex Ross, music critic for The New Yorker, weaves together the histories of the twentieth century and its music, from Vienna before the First World War to Paris in the twenties; from Hitler's Germany and Stalin's Russia to downtown New York in the sixties and seventies up to the present. Taking readers into the labyrinth of modern style, Ross draws revelatory connections between the century's most influential composers and the wider culture. The Rest Is Noise is an astonishing history of the twentieth century as told through its music.
“What are we to make of those cultural figures, many with significant international reputations, who tried to find accommodation with the Nazi regime?” Jonathan Petropoulos asks in this exploration of some of the most acute moral questions of the Third Reich. In his nuanced analysis of prominent German artists, architects, composers, film directors, painters, and writers who rejected exile, choosing instead to stay during Germany’s darkest period, Petropoulos shows how individuals variously dealt with the regime’s public opposition to modern art. His findings explode the myth that all modern artists were anti-Nazi and all Nazis anti-modernist. Artists Under Hitler closely examines cases of artists who failed in their attempts to find accommodation with the Nazi regime (Walter Gropius, Paul Hindemith, Gottfried Benn, Ernst Barlach, Emil Nolde) as well as others whose desire for official acceptance was realized (Richard Strauss, Gustaf Gründgens, Leni Riefenstahl, Arno Breker, Albert Speer). Collectively these ten figures illuminate the complex cultural history of Nazi Germany, while individually they provide haunting portraits of people facing excruciating choices and grave moral questions.
During the Second World War the 'Einsatzstab Reichsleiter Rosenberg' was set up, an organisation which aimed for the elimination of Jewish cultural life in the rest of Europe. A 'Sonderstab Musik' was also established, staffed by distinguished German musicologists whose task was to locate musical manuscripts, books and instruments. Its initial target was the possessions of Jewish musicians and composers who had fled the Nazi regime, but in the end it boiled down to a general confiscation and removal of Jewish possessions, including those connected with music-making. This book describes the activities of the 'Sonderstab Musik' in France, Belgium and the Netherlands.
Italian Jewish Musicians and Composers under Fascism by Alessandro Carrieri,Annalisa Capristo Pdf
This book is the first collection of multi-disciplinary research on the experience of Italian-Jewish musicians and composers in Fascist Italy. Drawing together seven diverse essays from both established and emerging scholars across a range of fields, this book examines multiple aspects of this neglected period of music history, including the marginalization and expulsion of Jewish musicians and composers from Italian theatres and conservatories after the 1938–39 Race Laws, and their subsequent exile and persecution. Using a variety of critical perspectives and innovative methodological approaches, these essays reconstruct and analyze the impact that the Italian Race Laws and Fascist Italy’s musical relations with Nazi Germany had on the lives and works of Italian Jewish composers from 1933 to 1945. These original contributions on relatively unresearched aspects of historical musicology offer new insight into the relationship between the Fascist regime and music.
