By Lily E. Hirsch
"Offers a transparent advent to a desirable, but little recognized, phenomenon in Nazi Germany, whose very lifestyles could be a shock to most of the people and to historians. simply mixing basic background with musicology, the e-book presents provocative but compelling research of advanced issues."---Michael Meyer, writer of The Politics of song within the 3rd Reich"Hirsch poses advanced questions on Jewish identification and Jewish tune, and she or he situates those opposed to a political history vexed by way of the impossibility of actually plausible responses to such questions. Her thorough archival study is complemented by means of her large use of interviews, which supplies voice to these swept up within the Holocaust. A Jewish Orchestra in Nazi Germany is a ebook full of the tales of actual lives, a collective biography in sleek song background that needs to now not stay in silence."---Philip V. Bohlman, writer of Jewish track and Modernity"An enticing and downright gripping historical past. The venture is unique, the examine is exceptional, and the presentation lucid."---Karen Painter, writer of Symphonic Aspirations: German song and Politics, 1900-1945The Jewish tradition League was once created in Berlin in June 1933, the one association in Nazi Germany within which Jews weren't basically allowed yet inspired to take part in song, either as performers and as viewers participants. Lily E. Hirsch's A Jewish Orchestra in Nazi Germany is the 1st publication to noticeably examine and parse the advanced questions the lifestyles of this specified association raised, equivalent to why the Nazis could 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 song additionally provided the organization's leaders and club with complicated conundrums: what precisely is Jewish tune? Who qualifies as a Jewish composer? And, whether it is real that the Nazis conceived of the League as a propaganda device, did Jewish participation in its actions quantity to collaboration?Lily E. Hirsch is Assistant Professor of track at Cleveland country collage.
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Extra resources for A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League
76 Though authenticity is generally regarded as a positive, even moral, ideal,77 the multivalency of the word allows it to be manipulated in such a way that it can provide the justi‹cation for a variety of sins. In creating the League, Nazi leaders unconsciously seized on the idea of the authoritative within authenticity to do just that. 78 For Hinkel and his associates, the “German” voice as opposed to the “Jewish” voice was the authentic representation of German art. This thinking had solid roots in Germany’s past, especially the writing of Richard Wagner.
Why the League? 14 One of the newly employed musicians was Wilhelm (Hans-Roland) Guttmann, a baritone, born in Berlin in 1886. 15 He then sang with the League and, as we will discuss in chapter 6, died on the League stage in 1941. Another prominent German singer was Paula Lindberg, a leading concert contralto. Her father had forbidden her to have a career in music. But, after his death, she began studying singing and drama at the Mannheim College of Music. She was discovered there by Paul Hindemith, who wrote for her the song cycle Die junge Magd (1922).
In fact, Jews were still able to visit the accepted German population’s cultural organizations. Former Berlin League member Margot Weintraub Sisman, for one, remembers attending the Berlin Staatsoper after 1933. 74 This proves that for the Nazis in charge, the real crime was not that Jewish audiences heard German music but rather that Jewish musicians played 32 a jewish orchestra in nazi germany German music. This reasoning is consistent with condemnations of conductors, such as Bruno Walter, who Nazi sympathizers believed performed German music in “un-German” ways.
A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League by Lily E. Hirsch