Music in the Third Reich

Levi, Erik

doi:10.1007/978-1-349-24582-6

Cited by 100 publications

(13 citation statements)

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“…And their perception of him did not really change when he managed to perform Carmina Burana in 1937: The Latin erotic texts of this cantata were declared to be pornographic and a case of decay of German values by them 37 . They started to appreciate his music more when he responded to the regime's call to compose music for Shakespeare's Midsummer Night's Dream in 1938 to replace Mendelssohn's "Jewish" music which they wanted not to be played any more 38 . Although he still implemented some critical lines about Fides being dead, Iustitia in need, and Tyrannis holding the sceptre in his opera Die Kluge (1943) 39 , he was recorded in the "Gottbegnadeten list" of artists who were considered important for the propagation of Nazi culture in 1944.…”

Section: Discussionmentioning

confidence: 99%

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Stachon¹

2020

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Lire, relire la bibliothèque des sciences de l'Antiquité Guillaume de Méritens de VilleneuveRelire « The Allegiance of Labienus » (JRS, 28, 1938) et dépasser l'inertie historiographique autour des travaux de Ronald Syme . . . . . . L'atelier de l'histoire : les chantiers historiographiques Actualité du théâtre antique » (coordonné par Malika Bastin-Hammou) (n° 5) Claire Lechevalier La génération sacrifiée des enfants des Atrides. Électre /Oreste mis en scène par Ivo Van Hove à la Comédie-Française . . . . . . . . . . . Les mots de l'Antiquité (coordonné par Magali Soulatges) (n°11) Florent Libral Conjurer le spectre d'Épicure ? Noms et définitions de l'atome dans la philosophie d'Emmanuel Maignan (1601-1676) . . . . . . . . . . . Antiquités numériques (coordonné par Elodie Guillon) (n° 2)

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Section: Discussionmentioning

confidence: 99%

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Stachon¹

2020

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“…Nazi Germany also attempted organized cultural control under the leadership of Propaganda Minister Joseph Goebbels. While restricting the performance of American jazz and French music and prosecuting some Jewish and avant-garde composers, the Third Reich used the works of native composers, most famously Richard Wagner, in its attempt to exhibit the supremacy of the German race (Holborn, 1964;Levi, 1994). To be sure, given citizens' ultimate privacy and the autonomy of established orchestras, it was difficult even for the oppressive wartime regimes to fully enforce their cultural restrictions.…”

Section: War and Classical Musicmentioning

confidence: 99%

How does war affect cultural tolerance? Evidence from concert programs, 1900–60

Kikuchi

2023

Journal of Peace Research

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How does war affect states’ tolerance toward foreign culture? It is well documented by historians that democratic countries, despite their heralded values of liberty and diversity, acquiesce and even promote the practice of cultural intolerance in wartime. The available evidence, however, remains either anecdotal or limited to a specific context, and the extent to which war-induced cultural intolerance persists has so far rarely been examined. In order to investigate the short- and long-term effects of war on the degree of foreign cultural acceptance, this article focuses on patterns of classical music performances before, during, and after the two World Wars, based on a novel dataset assembled from concert program notes of ten renowned symphony orchestras from five countries (Austria, Germany, Japan, the United Kingdom, and the United States) between 1900 and 1960, covering 29,135 concerts and 125,530 pieces. Quantitative analysis suggests that the rate of performing pieces originating from belligerent countries in wartime declines markedly for music written in relatively modern times and that the defeat in wars led to a swift recovery of the exclusionary tendency against former enemy music. These findings demonstrate that states’ security concerns and relative power, rather than political regime types, dictate international transaction patterns, including cultural flows across sovereign state borders.

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“…His 'philosophy of music was a philosophy of life.' 17 He saw music as more than just mere sound, but as a moral force, 18 music having the power to 'ennoble the soul, enhances the sensitivity of mind and emotional consciousness, and serves the holistic education of man's emotional, mental and spiritual faculties.' 19 Furtwängler saw himself as part of the great German intellectual tradition, 20 the same tradition which produced not only great German musicians such as Beethoven, Brahms and Bruckner but also notable German jurists such as the nineteenth century Friedrich Carl von Savigny (1779-1861) and Furtwängler's rough contemporary Carl Schmitt (1888.…”

Section: How This Article Fits Into and Extends Current Law And Musicmentioning

confidence: 99%

Reading Wilhelm Furtwängler Jurisprudentially: Furtwängler’s Music Making in the Light of Legal Philosophy

Ondrich

2018

Int J Semiot Law

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This article examines the work of the German conductor Wilhelm Furtwängler through legal philosophy by applying recent scholarship in the intersection of law and music and a method which MacNeil describes as 'reading jurisprudentially.' Furtwängler saw himself as a custodian of a great German cultural tradition, a tradition which included not only German musicians but German jurists such as Friedrich Carl von Savigny and Carl Schmitt. Due to this shared German tradition, concepts in Furtwängler's philosophy of music shares parallels with these German philosophers of law. Furtwängler, much like Savigny, attempted to protect law and music from modern trends which they saw as reducing law and music to a pure philosophical abstraction and in the process severing the organic links between the people and their law and music. Furtwängler also tried to protect music from the Nazis who attempted to have sovereign control over all Germany, including its music. Applying Schmitt's idea of sovereignty as 'he who decides on the exception' to Furtwängler's 1942 performance of Beethoven's Ninth Symphony in Berlin, Germany, I will argue that Furtwängler protects the love and humanism of the music by suspending it and by doing so preventing it from being associated with Nazism.

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Music in the Third Reich

Cited by 100 publications

References 0 publications

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

Odious and Yet Lovely: Carl Orff’s Scenic Cantata Catulli Carmina

How does war affect cultural tolerance? Evidence from concert programs, 1900–60

Reading Wilhelm Furtwängler Jurisprudentially: Furtwängler’s Music Making in the Light of Legal Philosophy

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