Overview

Following their entry into Austria and the Sudetenland in the late 1930s, the Germans attempted to impose a policy of cultural imperialism on the countries they went on to occupy during World War II. Almost all music institutions in the occupied lands came under direct German control or were subject to severe scrutiny and censorship, the prime objective being to change the musical fabric of these nations and force them to submit to the strictures of Nazi ideology. This pioneering collection of essays is the first in the English language to look in more detail at the musical consequences of German occupation during a dark period in European history. It embraces a wide range of issues, presenting case studies involving musical activity in a number of occupied European cities, as well as in countries that were part of the Axis or had established close diplomatic relations with Germany. The wartime careers and creative outputs of individual musicians who were faced with the dilemma of either complying with or resisting the impositions of the occupiers are explored. In addition, there is some reflection on the post-war implications of German occupation for the musical environment in Europe. Music under German Occupation is written for all music-lovers, students, professionals and academics who have particular interests in 20th-century music and/or the vicissitudes of European cultural life during World War II.

Full Product Details

Author:   David Fanning ,  Erik Levi
Publisher:   Taylor & Francis Ltd
Imprint:   Routledge
Weight:   1.000kg
ISBN:  

9781138713888

ISBN 10:   1138713880
Pages:   550
Publication Date:   18 December 2019
Audience:   College/higher education ,  General/trade ,  Tertiary & Higher Education ,  General
Format:   Hardback
Publisher's Status:   Active
Availability:   In Print  
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Table of Contents

Introduction: the foundations of Nazi musical imperialism David Fanning and Erik Levi Section 1 Musical life, resistance and destruction in occupied European capitals 1 Composers as critics in occupied Paris Nigel Simeone 2 The Conservatoire in occupied Kiev (19 September 1941 to 6 November 1943) Elena Zinkevych, Translated by Michelle Assay 3 Nazi musical imperialism in occupied Poland Katarzyna Naliwajek 4 Music and musical life in occupied Athens Alexandros Charkiolakis Section 2 Adaptation and opportunism 5 The Rome-Berlin Axis: musical interactions between Fascist Italy and Nazi Germany in redrawing a ‘New Order for European Culture’ Erik Levi 6 In search of a musical identity in the Nazi-occupied Netherlands Dario van Gammeren 7 Symphonic music in occupied Belgium (1940–1944): the role of ‘German-friendly’ music societies Eric Derom 8 Music, culture and the Church in the German-occupied USSR: the Smolensk area and other provinces Svetlana Zvereva Section 3 Appropriations and reputations 9 Celebrating a Mozart anniversary in occupied Belgium: the Mozart Herdenking in Vlaanderen (1942) Marie-Helene Benoit-Otis and Cecile Quesney 10 The ambiguous reception of Antonin Dvořak’s music during the Reichsprotektorat Bohmen und Mahren (The Protectorate of Bohemia and Moravia), 1939–1945 Kateřina Nova, Translated by Štěpan Kaňa 11 Celebrating the Nordic tone – fighting for national legacy: the Grieg Centenary, 1943 Michael Custodis & Arnulf Mattes Section 4 Between two evils 12 The song collector, the year of terrors and the catastrophe that followed: a life in occupied Latvia Kevin C. Karnes 13 The music of Čiurlionis in the context of resistance and Lithuanian national identity during the Nazi occupation (1941–1944) Vytautė Markeliūnienė 14 Power through music: strategies of the German occupation authorities in Estonia Kristel Pappel and Anu Kolar Section 5 The limits of tolerance 15 Getting away with Cultural Bolshevism: the first European performance of Porgy and Bess in Copenhagen, 1943 Michael Fjeldsoe 16 Music criticism in the Swedish Nazi daily press: the case of Dagsposten Henrik Rosengren Section 6 Damaged careers 17 (Re)visiting the (Jewish) archive of Gideon Klein – Terezin, 1941–1944 David Fligg 18 Eugeniusz Morawski: life under the Nazi occupation of Warsaw Oskar Łapeta Section 7 Symphonies of war and resistance 19 Religious patriotism and grotesque ridicule: responses to Nazi oppression in Pavel Haas’s unfinished war-time Symphony Martin Čurda 20 Paul von Klenau’s Ninth Symphony: a case study Niels Krabbe 21 Shostakovich’s ‘Leningrad’ Symphony: music of endurance David Fanning and Michelle Assay Section 8 Complex and uneasy legacies 22 Listening in the Grey Zone Michael Beckerman 23 The marketing of backstories: approaches to the legacies of music composed in fraught circumstances Mirjam Frank 24 Nazism, music and Tyrolean identity Kurt Drexel 25 Bartok against the Nazis: the Italian premieres of Bluebeard’s Castle (1938) and The Miraculous Mandarin (1942) Nicolo Palazzetti 26 Contemporary music and cultural politics in Switzerland during World War II: between neutrality and nationalism Simeon Thompson

Reviews

eloquently written and always annotated with exactitude ... This is a timely tour-de-force that takes the evaluation of music under totalitarianism to a new level. ????? Jessica Duchen, BBC Music Magazine

eloquently written and always annotated with exactitude ... This is a timely tour-de-force that takes the evaluation of music under totalitarianism to a new level. Jessica Duchen, BBC Music Magazine

Author Information

David Fanning is Professor of Music at the University of Manchester and author and editor of books, articles and critical editions on Nielsen, Shostakovich, Weinberg, Expressionism and the 20th-century symphonic tradition. An experienced chamber music pianist and accompanist, he is also active as a critic for Gramophone and the Daily Telegraph. Erik Levi is Visiting Professor of Music at Royal Holloway, University of London. He is author and editor of several books relating to music during the Weimar Republic and the Third Reich and is active as a broadcaster and critic for BBC Music Magazine. Amongst his recent publications are Music and Displacement, co-edited with Florian Scheding (2010); Mozart and the Nazis (2010); The Impact of Nazism on Twentieth-Century Music (2014); and Hanns Eisler and England (2014).

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