Werner Egk and Joan Von Zarissa: Music As Politics and Propaganda Under National Socialism Jason P
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Werner Egk and Joan Von Zarissa: Music as Politics and Propaganda under National Socialism Jason P. Hobratschk Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC WERNER EGK AND JOAN VON ZARISSA: MUSIC AS POLITICS AND PROPAGANDA UNDER NATIONAL SOCIALISM By JASON P. HOBRATSCHK A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2011 Jason P. Hobratschk defended this dissertation on October 6, 2011. The members of the supervisory committee were: Denise Von Glahn Professor Directing Dissertation Joseph Kraus University Representative Douglass Seaton Committee Member Birgit Maier-Katkin Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To my mother, Linda, for her eternal unconditional love and support; to my father, Harvey, who, despite having only an eighth-grade education, remains one of the most intelligent men I have ever known; and to Ryan, for his love and patience. iii ACKNOWLEDGEMENTS I owe sincere thanks to many people who made this project successful. Foremost among them the governments of Germany and of the United States, who made the research for this project possible through a generous Fulbright Full Grant. I especially thank Prof. Dr. Wolfgang Rathert of Ludwig-Maximilians-Universität, Munich, a wonderful Ersatz-Doktorvater who advocated for this project and provided much helpful guidance along the way. Special thanks are also due Mr. Reiner Rohr and Ms. Julie McBride of The German American Fulbright Committee who made the transition to a foreign culture very smooth. Thanks also go to Ms. Jamie Purcell and Ms. Meredith B. Simpson of the Florida State University Office of National Fellowships; and Dr. Douglass Seaton, for their kind assistance in the Fulbright application process. A scholar would be hard-pressed to find an archive as welcoming and accommodating as the Stadtarchiv Donauwörth. For creating such a convivial research atmosphere, I thank the Oberbürgermeister of Donauwörth, Mr. Armin Neudert, and especially the staff of the Stadtarchiv, Director Dr. Ottmar Seuffert, Mr. Deniz Landgraf, and Ms. Fulya Ergin. The Stadtmuseum Bocholt was likewise an inviting place to learn, and for that I thank Mr. Georg Ketteler. For helping me to negotiate the immense troves of knowledge housed at the Bayerische Staatsbibliothek in Munich, I heartily thank Dr. Sigrid Moisy, Dr. Nino Nodia, and Ms. Gertrud Friedl of the Abteilung für Handschriften und Seltene Drücke. A special thank you goes to Ms. Stephanie Fischer, who, after a few months, answered my insistent “Guten Morgen, Frau Fischer” with a cheerful “Guten Morgen, Herr Hobratschk.” Kindest thanks are also due to the personnel of the Musikabteilung, Dr. Veronika Giglberger, Dr. Reiner Nägele, Dr. Uta Schaumberg, and the kind personnel at the reading room desk. Gratitude is also due to Dr. Thomas Rösch of the Orff-Zentrum München and to Ms. Brigitte Bergese, for allowing me access to letters among Egk, Orff, and Hans Bergese; to Ms. Kristin Hartisch of the Bundesarchiv Berlin-Lichterfelde; and to the personnel of the Staatsarchiv, München. I also thank Dr. John Michael Cooper of Southwestern University and Dr. Joanna Biermann of the University of Alabama for making me think. At Florida State University, I happened to meet fellow choral musician Jo-Anne Van der Vat-Chromy, who provided translations of Dutch documents with the help of Lidewij Besnard. iv Thank you both. Thank you to Jena Whitaker for her translations from the French. Thanks go also to Ms. Martha Dahlbert, for giving me a score of Egk’s Quattro Canzoni. I could not have received a kinder validation for my research and work than that which I got from Dr. Heike Lammers-Harlander as we sat together on a lovely Donauwörth day. In Heike I found a kindred spirit. Herr Rathert and Heike provided invigorating confirmation that my perspective on Egk and Joan von Zarissa found resonance among German scholars. Thank you. And I must thank my doctoral committee, Dr. Douglass Seaton, Dr. Joseph Kraus, and Dr. Birgit Maier-Katkin for their guidance and thoroughness. Special thanks go to my Major Professor, Dr. Denise Von Glahn, for the many hours—years—of chatting about, reading through, and listening to me complain about my most recent thoughts on Egk. Finally, thank you, Werner Egk. How I would like to have met you personally. v TABLE OF CONTENTS List of Tables ................................................................................................................................. ix List of Figures..................................................................................................................................x List of Musical Examples ............................................................................................................ xiv Abstract..........................................................................................................................................xv 1. WERNER EGK IN WEIMAR GERMANY...........................................................................1 2. WERNER EGK’S CAREER WITHIN NATIONAL SOCIALISM.....................................14 Bayerische Fahnen (1933)...........................................................................................14 Columbus (1933)..........................................................................................................15 Egk’s Contributions to Völkische Kultur – I................................................................18 Egk’s Radio Plays of 1933–34.....................................................................................22 Das große Totenspiel (1933) .......................................................................................22 Job, der Deutsche.........................................................................................................23 Egk’s Contributions to Völkische Kultur – II ..............................................................34 Georgica (1934)...........................................................................................................40 Die Zaubergeige (1935)...............................................................................................40 Bayerische Tanzbilder „Auf der Alm“ (Georgica, 1935)............................................56 Kapellmeister at the Berliner Staatsoper.....................................................................57 Der Weg (1936)............................................................................................................58 Geigenmusik mit Orchester (1936)..............................................................................60 Olympische Festmusik (1936)......................................................................................61 Natur-Liebe-Tod (1937)...............................................................................................66 Mein Vaterland (1937).................................................................................................67 Variationen über ein altes Wiener Strophenlied (1938)..............................................67 Peer Gynt (1938)..........................................................................................................67 Die hohen Zeichen (1939)............................................................................................85 Music for the Film Jungens (1940)..............................................................................86 Egk’s Appointment to the Reichsmusikkammer ..........................................................88 Egk’s Work on Behalf of Composers’ Rights .............................................................95 Columbus (1942)..........................................................................................................96 Finis (1944)..................................................................................................................97 3. “WELCH EIN BILD FÜR EINE DON-JUAN-HANDLUNG!”..........................................98 The Scores of Joan von Zarissa...................................................................................98 Joan von Zarissa: Egk’s Burgundian Don Juan Tragedy .........................................100 Differences between the Original and Revised Versions of Joan von Zarissa..........115 Egk’s Joan von Zarissa, as Premiered in Berlin........................................................126 Egk’s Inspiration for Joan von Zarissa......................................................................132 The Artwork of Jean Fouquet ........................................................................132 The Feast of the Pheasant ..............................................................................139 Influences of Fouquet and the Feast of the Pheasant in Joan von Zarissa ....141 Collaboration with Josef Fenneker ................................................................143 vi Raimond van Marle’s Iconographie de l’art profane au moyen-age et a la Renaissance..................................................................................160 Werner Egk’s Die Historie vom Ritter Don Juan