Composers of the Nazi Era: Eight Portraits

By Gamer, Carlton | Shofar, Summer 2002 | Go to article overview

Composers of the Nazi Era: Eight Portraits


Gamer, Carlton, Shofar


by Michael H. Kater. New York and Oxford: Oxford University Press, 2000. 399 pp. $35.00.

The social historian Michael Kater will be known to many readers of this journal. His scholarship is at once broad in its cross-cultural scope and deep in its rigorous methodology. From two of his earlier studies, one on the SS and "Kulturpolitik" in the Third Reich (1974), the other on "Studentenschaft und Rechtsradikalismus" in the Weimar Republic (1975), he moved on to examine the membership and leadership of the Nazi party (1983) and the situation of doctors under Hitler (1989). He then turned his attention to music.

The present volume concludes a trilogy on music and musicians in the Third Reich that is the clearest and most comprehensive treatment of its subject to date. In the preceding volumes, Different Drummers: Jazz in the Culture of Nazi Germany (1992), and The Twisted Muse: Musicians and Their Music in the Third Reich (1997), Kater afforded us an overview of the musical culture of that era. He now explores the lives and careers of eight composers -- Werner Egk, Paul Hindemith, Kurt Weill, Karl Amadeus Hartmann, Carl Orff, Hans Pfitzner, Arnold Schoenberg, and Richard Strauss -- elucidating the relationship of each to the Nazi regime.

Composers of the Nazi Era (hereafter CNE) is best read in tandem with its admirable predecessor, The Twisted Muse (hereafter TM), which supplies a systematically organized historical and structural context for many of the issues encountered here -- e.g., "intentionalism" vs. "functionalism" in the interpretation of National Socialism; continuities and discontinuities between the Weimar Republic and the Third Reich; the influence of Wagner on Hitler; the straggle to define "German" and "Jewish" music; and the competition between Rosenberg and Goebbels for control of Nazi cultural policies.

Regarding the individual composers in this book, TM supplies much useful contextual background as well, introducing us to such matters as Egk's favored status; the Hindemith affair of 1934-35; Orff's role in the "Midsummer Night's Dream" and "White Rose" affairs; Strauss's acceptance of the presidency of the Reich Music Chamber (RMK) under Goebbels and the reasons for his subsequent break with it; Strauss and the "Mann Protest"; and the Strauss-Zweig affair, among many others.

In the Introduction to TM, Kater summarizes his findings in that book as follows: "One and all -- musicians and singers, composers and conductors, all of whom had to make a living as artists in the Third Reich -- emerged in May 1945 severely tainted, with their professional ethos violated and their music often compromised: gray people against a landscape of gray" (TM, p. 6). That characterization applies to most of the portraits in this book as well, with certain exceptions.

Among those composers who remained in Germany (Egk, Hartmann, Orff, Pfitzner, and Strauss), only Hartmann emerged after World War II with his professional integrity uncompromised by National Socialism. Among those who emigrated (Hindemith, Weill, and Schoenberg), Weill and Schoenberg, both Jews, distinguished themselves by forging new careers in America. Whereas Weill was culpable in some of his personal relations, including marital ones, and Schoenberg was often contentious in his dealings with fellow émigrés, including Thomas Mann, they too preserved their professional integrity. The case of Hindemith is more complex, and one understands from the book why he returned to Europe -- though not to Germany itself -- in 1951.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Composers of the Nazi Era: Eight Portraits
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.