A Jewish Orchestra in Nazi Germany: Musical Politics and the by Lily E. Hirsch

By Lily E. Hirsch

"Offers a transparent advent to a desirable, but little identified, phenomenon in Nazi Germany, whose very lifestyles may be a shock to most people and to historians. simply mixing basic background with musicology, the publication offers provocative but compelling research of complicated issues."---Michael Meyer, writer of The Politics of tune within the 3rd Reich"Hirsch poses advanced questions about Jewish id and Jewish song, and he or she situates those opposed to a political history vexed by way of the impossibility of really potential responses to such questions. Her thorough archival study is complemented via her huge use of interviews, which provides voice to these swept up within the Holocaust. A Jewish Orchestra in Nazi Germany is a booklet choked with the tales of actual lives, a collective biography in smooth track historical past that needs to not stay in silence."---Philip V. Bohlman, writer of Jewish tune and Modernity"An attractive and downright gripping background. The undertaking is unique, the learn is phenomenal, and the presentation lucid."---Karen Painter, writer of Symphonic Aspirations: German tune and Politics, 1900-1945The Jewish tradition League was once created in Berlin in June 1933, the single association in Nazi Germany during which Jews weren't in simple terms allowed yet inspired to take part in track, either as performers and as viewers participants. Lily E. Hirsch's A Jewish Orchestra in Nazi Germany is the 1st ebook to noticeably examine and parse the advanced questions the lifestyles of this specific association raised, similar to why the Nazis may advertise Jewish song while, within the remainder of Germany, it used to be banned. The government's insistence that the League practice in simple terms Jewish track additionally offered the organization's leaders and club with difficult conundrums: what precisely is Jewish track? Who qualifies as a Jewish composer? And, whether it is actual that the Nazis conceived of the League as a propaganda software, did Jewish participation in its actions quantity to collaboration?Lily E. Hirsch is Assistant Professor of track at Cleveland nation collage.

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Despite very different motivations, it also paralleled Nazi leaders’ own mounting displeasure with League offerings (discussed in chapter 1). This overlap was not the only link between Nazi and Zionist activities in the Third Reich. 19 The Zionist goal of establishing a separate state in Palestine—Eretz Israel—also served Nazi purposes to an extent. The regime generally wanted Jews out of Germany, and resettlement was a clear means to rid themselves of their Jewish problem. 22 This support, however, had its ideological limitations.

It was also to address the question of Jewish music as a genre: did it even exist? But Wagner seized the opportunity to map old anti-Semitic arguments onto the new idea of Jewish music. 81 Relying on the long-standing prejudice that the Jews are a nation of usurers, Wagner speci‹cally criticized the work of Meyerbeer, who, he said, Why the League? 33 treated music as a business by catering to his Parisian audiences with thrilling situations and orchestral effect. 82 Wagner’s condemnation of Jewish musicians in this vein appears over and over again in works from the Third Reich.

61 In Nazi Germany, it was associations with music that inspired its regulation—though somewhat haphazardly. Music associated with Jews, America, and modernity, for example, were targets of censorship within Aryan cultural institutions. But this general policy of censorship was reversed inside the League. This music often banned outside the League was in most cases allowed within it, and vice versa. ”62 In 1935, Baumann assumed this post, which he took very seriously. 63 Compounding the confusion, neither a list of banned composers nor an explanation of the bans has survived.

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