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

By Lily E. Hirsch

"Offers a transparent creation to a desirable, but little identified, phenomenon in Nazi Germany, whose very lifestyles should be a shock to most of the people and to historians. simply mixing normal historical past with musicology, the ebook presents provocative but compelling research of complicated issues."---Michael Meyer, writer of The Politics of track within the 3rd Reich"Hirsch poses complicated questions on Jewish identification and Jewish tune, and she or he situates those opposed to a political historical past vexed by way of the impossibility of actually attainable responses to such questions. Her thorough archival examine is complemented through her vast use of interviews, which supplies voice to these swept up within the Holocaust. A Jewish Orchestra in Nazi Germany is a e-book packed with the tales of actual lives, a collective biography in smooth tune heritage that needs to now not stay in silence."---Philip V. Bohlman, writer of Jewish tune and Modernity"An enticing and downright gripping heritage. The venture is unique, the examine is phenomenal, and the presentation lucid."---Karen Painter, writer of Symphonic Aspirations: German song and Politics, 1900-1945The Jewish tradition League used to be created in Berlin in June 1933, the one association in Nazi Germany within which Jews weren't merely allowed yet inspired to take part in tune, either as performers and as viewers individuals. Lily E. Hirsch's A Jewish Orchestra in Nazi Germany is the 1st publication to noticeably examine and parse the advanced questions the life of this detailed association raised, equivalent to why the Nazis might advertise Jewish track whilst, within the remainder of Germany, it used to be banned. The government's insistence that the League practice simply Jewish track additionally awarded the organization's leaders and club with complicated conundrums: what precisely is Jewish song? Who qualifies as a Jewish composer? And, whether it is real that the Nazis conceived of the League as a propaganda instrument, did Jewish participation in its actions volume to collaboration?Lily E. Hirsch is Assistant Professor of song at Cleveland kingdom college.

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51 This exploitation was unique within programs of musical propaganda from 1933 through 1941. For one, it was not denunciatory. While the performance of 28 a jewish orchestra in nazi germany Schoenberg’s music in the League served to send a positive message abroad, the same presentation in the 1938 Exhibition of Entartete Musik (Degenerate Music) was meant to demean and denounce the composer at home. This display, part of the ‹rst Reich’s Music Days in Düsseldorf, was organized by Hans Severus Ziegler, one of the most active early members of the Combat League for German Culture.

30 In the ‹rst monthly newsletter, he also urged audiences to avoid such talk. While members could hardly ignore politics and the escalating effects of Nazi rule, Singer in some ways hoped that by maintaining in the League at least the appearance of political passivity and obedience, the League could remain in fa- 24 a jewish orchestra in nazi germany vor and even expand. Indeed, the creation of the Jewish Culture League in Berlin was soon followed by the formation of two additional active League chapters in Cologne and Frankfurt.

While the performance of 28 a jewish orchestra in nazi germany Schoenberg’s music in the League served to send a positive message abroad, the same presentation in the 1938 Exhibition of Entartete Musik (Degenerate Music) was meant to demean and denounce the composer at home. This display, part of the ‹rst Reich’s Music Days in Düsseldorf, was organized by Hans Severus Ziegler, one of the most active early members of the Combat League for German Culture. 53 The League, in contrast, was closed to the general public.

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