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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.
Concentrating on the music, politics, and philosophy of Richard Wagner, Lydia Goehr addresses some fundamental questions of German Romanticism: Is all music musical? Is music made less musical by the presence of words? What is musical autonomy? How do composers avoid censorship? How are composers affected by exile? Can music articulate a 'politics for the future'? What is the relation between music and philosophy?
The political elite of Nazi Germany perceived itself as a cultural elite as well. In Art as Politics in the Third Reich, Jonathan Petropoulos explores the elite's cultural aspirations by examining both the formulation of a national aesthetic policy
This absorbing book chronicles the exploitation of Beethoven's life and work by German political parties from the founding of the modern nation in 1870 to the peaceful East German Revolution of 1989. David Dennis taps a wealth of new archival resources to examine for the first time how propagandists of every persuasion have transformed Beethoven and his art into powerful, and varied, national symbols. In fascinating detail, Dennis introduces many 'Beethovens, ' each fashioned as part of a process that transformed the composer into the most protean, and widely abused, cultural-political symbol in modern German history.-David Large, Montana State University This book] should fascinate not only Beethoven devotees but also anyone interested in the elusiveness and malleability of historical evidence.-James R. Oestreich, New York Time
It has long been acknowledged that Richard Wagner was a virulent antisemite, yet the composer has also been characterized as an idealistic revolutionary, and historians have puzzled over the paradox of these conflicting elements in his character. In this fascinating book, Paul Lawrence Rose argues that Wagner did not suddenly change from a progressive revolutionary into a reactionary racist; for him, as for many other Germans, the idea of revolution always contained a racial and antisemtic core. Rose approaches Wagner on varying levels so as to see him as he really was: he places Wagner within the context of mid-nineteenth-century German revolutionary culture; he studies the composer's whole range of theoretical and artistic works, tracing his career and the evolution of his thought; and he considers Wagner's personality and his personal relationships (especially with those Jews who considered themselves his friends). Rose demonstrates that Wagner's conversion to antisemitism dates not from 1850--the year in which his infamous essay Judaism in Music was published--but from his conflict with the Jewish composer Giacomo Meyerbeer three years earlier over the Berlin production of Rienze. This affects our understanding of the genesis of the Ring operas. In addition, Rose offers fresh and stimulating interpretations of Tristan und Isolde, Die Meistersinger, and Parsifal, based on an analysis of their revolutionary and antisemitic elements.
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.
Richard Wagner's Die Meistersinger von Nurnberg has been one of the most performed operas ever since its premiere in 1868. It was adopted as Germany's national opera ["Nationaloper"], not least because of its historical coincidence with the unification of Germany under Bismarck in 1871. The first section of this volume, "Performing Meistersinger," contains three commissioned articles from internationally respected artists - a conductor [Peter Schneider], a stage director [Harry Kupfer] and a singer [Dietrich Fischer-Dieskau], all experienced in the performance of this unusually demanding 5-hour work. The second section, "Meistersinger and History," examines both the representation of German history in the opera and the way the opera has functioned in history through political appropriation and staging practice. The third section, "Representations," is the most eclectic, exploring in the first place the problematic question of genre from the perspective of a theatrical historian. The chronic issue of Wagner's chief opponent, Eduard Hanslick, and his musical and dramatic representation in the opera as Beckmesser, is then addressed, as are gender issues, and Wagner's own utterances concerning the opera. Contributors: Nicholas Vazsonyi, Peter Schneider, Harry Kupfer, Dietrich Fischer-Dieskau, Hans Rudolf Vaget, Lutz Koepnick, David B. Dennis, Klaus Van Den Berg, Thomas S. Grey, Lydia Goehr, Eva Rieger, Peter Höyng. Nicholas Vazsonyi is Associate Professor of German and Comparative Literature, University of South Carolina.