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The Reconstruction of Post-War West German New Music During the Early Allied Occupation

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The Reconstruction of Post-War West German New Music During the Early Allied Occupation The Reconstruction of Post -War West German New Music during the early Allied Occupation (1945 -46), and its Roots in the Weimar Republic and Third Reich (1918 -45) PhD Submission, 2018 Cardiff University Ian Pace Abstract This thesis is an analysis of the development of new music in occupied Germany from the end of World War Two, on 8 May 1945, until the end of 1946, in terms of the creation of institutions for the propagation of new music, in the form of festiva ls, concert series, radio stations, educational institutions and journals focusing on such a field, alongside an investigation into technical and aesthetic aspects of music being composed during this period. I argue that a large number of the key decisions which would affect quite fundamentally the later trajectory of new music in West Germany for some decades were made during this period of a little over eighteen months. I also argue that subsequent developments up to the year 1951, by which time the infra structure was essentially complete, were primarily an extension and expansion of the early period, when many of the key appointments were made, and institutions created. I also consider the role of new music in mainstream programming of orchestras, opera h ouses, chamber music societies, and consider all of these factors in terms of the occupation policies of the three Western powers – the USA, the UK and France. Furthermore, I compare these developments to those which occurred in during the Weimar Republic and the Third Reich, of which I give an overview, and argue as a result that the post -war developments, rather than being radically new, constituted in many ways a continuation and sometimes distillation of what was in place especially in the Weimar years . I conclude that the short period at the centre of my thesis is of fundamental importance not only for the course of German new music, but that in Europe in general. The Reconstruction of Post -War West German New Music during the early Allied Occupation (1945 -46), and its Roots in the Weimar Republic and Third Reich (1918 -45 ) Contents Acknowledgments i A Note on Style ii Introduction : Aims, Objectives , Lit erature Review and Sources 1 Chapter 1 Music and Modernism during the Weimar Republic, and into the Third 17 Reich: institutions and aesthetics Chapter 2 The Occupation of Germany: structure, denazification and music 10 3 policies Chapter 3 New mus ic in early West German post -war musical life, 1945 -46 14 3 Chapter 4 The new radio stations 21 0 Chapter 5 The first dedicated post -war institutions for new music 258 Chapter 6 The first post -war compositions 31 1 Chapter 7 The beginning of the Darms tädter Ferienkurse für neue Musik 34 2 Chapter 8 Conclusion: Towards post -war new music 36 0 Appendi ces Appendix 1 Organisations for New Music in Weimar Germany and the Third A1 Reich Appendix 2 First Licensed Post -War Concerts in the Three We stern Zones, A3 1945 -46 2a. American Zone 2b. British Zone 2c. French Zone Appendix 3 Documentation relating to Allied Music Policy A11 US and French Lists of Composers to Promote in Germany Appendix 4 Chronologies of New Music in Major German Cities, 1945 -46 A13 4a. Berlin 4b. American Zone – Bavaria: Munich, Nuremberg 4c. American Zone – Hesse: Frankfurt, Darmstadt, Wiesbaden 4d. American Zone – Württemberg -Baden: Stuttgart, Heidelberg and Mannheim 4e. British Zone – Hamburg 4f. British Zone – North -Rhine Westphalia: Cologne, Düsseldorf 4g. British Zone – Lower Saxony: Braunschweig 4h. French Zone – Baden -Baden, Freiburg, Konstanz, Tübingen Appendix 5 Festivals and other New Music Programmes, 1945 -51 A151 5a. Chrono logy of Festivals featuring New Music, 1945 -1951 5b. The Trossinger Musiktage, 1945 -1951 5c. Musica Viva , Munich, 1945 -1951 5d. The Überlinger Kulturwoche 1945, Konstanzer Kunstwochen 1946, the Tage moderner Musik within the Kunstwoche Tübingen -Re utlingen 1946, and the Konstanzer Musiktage 1947 5e. New music at the Haus am Waldsee , Berlin -Zehlendorf, January -June 1946 5f. Eduard Erdmann's recital series, 1946 5g. The Zeitgenössische Musikwoche , Bad Nauheim, 1946, and the Woche n für neue Mus ik , 1947 -49 and 1951 5h. The Tage neuer Musik , Bremen, 1946 5i. Neue Musik Donaueschingen , 1946 -47, and the Donaueschinger Musiktage für zeitgenössische Tonkunst , 1950 -51 5j. The Darmstädter Ferienkurse , 1946 -51 5k. The concerts of the Sinfonie orchester des Südwestfunk , Baden -Baden, 1946 -51 5l. The Abende zeitgenössischer Musik of the Kulturbund in Berlin, 1946 -49 5m. The Wittener Kammermusiktage 1947 -48, 1950 5n. The Bayreuther Wochen – Neue Musik , 1947, Tagung für Neue Musik und Musik erziehung, Bayreuth, 1948 -50, and Darmstadt, 1951 5o. The Berliner Musiktage , 1947 -48, and Englische Musiktage Berlin , 1947 5p. The Kulturwoche "Lebendige Kunst" , Koblenz, 1947 5q. The Zeitgenössischer Stuttgarter Musiktage , 1947 and Tage zeitgenö ssischer Musik , Stuttgart, 1950 -51 5r. The Godesberger Musiktage , 1947 -48 5s. The Speyerer Kulturwoche , 1947 5t. The Woche moderner Kunst , München -Gladbach, 1947 5u. The Nürnberger Woche n neuer Musik , 1947 5v. The Tage der neue Musik , Mainz U niversity, 1947 5w. The Homburger zeitgenössischer Musiktage , Bad Homburg, 1947 5x. The Tage moderner Musik , Krefeld, 1948 5y. The Musiktage and Musica Viva , Heidelberg, 1948 -51 5z. Wandlung der modernen Musik , Regensburg, 1948 5aa. The Zeit genössisches Musikfest , Coburg, 1949 5ab. The Festtage zeitgenössischer Musik , Bochum, 1949 5ac. The Werkwoche , Düsseldorf, 1949 -50 5ad. The Festliche Tage für Neue Kammermusik , Braunschweig, 1949 -51 5ae. das neue werk , Hamburg, 1951 5af. Th e Konzerte Neuer Musik and Musik der Zeit , Cologne, 1951 Appendix 6 New Music at other major festivals, 1945 -1951 A336 6a. The Niederrheinisches Musikfest , 1946 -51 6b. The Schwetzinger Festspiele , 1946 6c. The Pyrmonter Musikwochen , 1948 6d. The Berliner Festspiele , 1951 6e. The Freiburger Musikwochen , 1951 Appendix 7 Radio commissions of new works, 1945 -1951 A349 7a. Nordwestdeutscher Rundfunk. 7b. Südwestfunk 7c. Saarländischer Rundfunk 7d. Radio Frankfurt/ Hessischer Rundfun k 7e. Radio Stuttgart/ Süddeutscher Rundfunk 7f. Radio Munich/ Bayerischer Rundfunk 7g. Radio Bremen 7h. Rundfunk im amerikanischen Sektor List of Abbreviations A354 Bibliography A357 Acknowledgements This thesis has been a long process, which has involved many trips around the breadth of Germany, endless hours spent reading through old newspapers on microfilm, and also many hours studying scores and listening to recordings. There are many people with whom I have discussed ideas during the course of study, and who I would like to acknowledge: Franklin Cox, Barbara Eichner, Roddy Hawkins, Björn Heile, Martin Iddon, Beate Kutschke, Alexander Lingas, Shay Loya, Larson Powell, Peter Tregea r, Erwin Warkentin are just a few of these. The staff at many different libraries and archives have been unfailingly helpful, especially those at the British Library, the London School of Economics Library, the National Archives in Kew, the Staatsbibliotheke in Hamburg, Berlin and Mun ich, the Institut für Zeitgeschichte in M unich, the Archives Diplomatiques in Paris, the Bundesarchiv in Berlin, the Akademie der Künste in Berlin, the Technische Universität Berlin, the Haus am Waldsee in Berlin, the International Musikinstitut Darmstadt, the I nstitut für Neue Musik und Musikerziehung, also in Darmstadt, the state archives in Hamburg, Düsseldorf, Wiesbaden, Darmstadt, Freiburg and Munich, the land archives in Berlin and Karlsruhe, the town archives in Cologne, Bonn, Bochum, Bielefeld, Dortmund, Wuppertal, Frankfurt, Darmstadt, Heidelberg, Überlinge n, Konstanz, Tübingen, Nuremberg, Bayreuth, and the radio archives of Norddeutscher Rundfunk, Westdeutscher Rundfunk, Hessischer Rundfunk, Südwestfunk, Süddeutscher Rundfunk, and B ayerisches Rundfunk. Thanks to my supervisors, Caroline Rae and David Beard, for many helpful suggestions. To Chris Sheppard for his immense patience when copy -editing my text for submission. And above all to my wife Lindsay, for everything I could possib ly ask for. i A Note on Style Throughout this thesis, I make many references to institutions, concepts and other terms in German, French and occasionally other languages. In order to avoid the type of mystique which some German terms (especially those associated with the Third Reich) can attain when continuously presented in italics, I have usually only italicised them when first used, or when they have not appeared for some time in the text. Capitalisation o f the names of German institutions follows German practice, i.e. capitalisation of all nouns. All quotation marks, including those which are parts of book or article titl es, are given in British format. The references to archival files use the ‘signature’ indicated by the archives in question. Where institutions have had a succession of different names at different points in time, I have attempted to make this clear. For composers who have themselves used Anglicised versions of their original names (e.g. Schoenberg and Krenek) I have referred to them as such, except where quoting another reference which uses their original forms, or (as in the case of Schoenberg/Schönberg) wh en referring to books and articles which do the same. It is impossible to avoid employing some Nazi terminology, but I hope context will make it clear that in no sense does this imply an endorsement of this language. ii Introduction Aims, Objectives, Literature Review and Sources This thesis investigates the roots and emergence of post -war West German new music, both the music composed and performed and the institutions supporting it. The central focus concerns the perio d from May 1945 to the end of 1946, about which relatively little is known. Primary source material relating to this period is not only extremely patchy but also scattered around many archives , newspapers, and some obscure printed sources . The finding and subsequent close examination of these materials, some for the first time, has been one of the main, most intensive and time - consuming aspects of this research project.
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