Iiib. Nazi-Musik Und Nazi-Musikliteratur (Titelliste)

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Iiib. Nazi-Musik Und Nazi-Musikliteratur (Titelliste) - 1 - Musikantiquariat Dr. Ulrich Drüner Ameisenbergstraße 65 D-70188 Stuttgart Tel. 0(049)711-486165 oder 0(049)1795199826 - Fax 0(049)711-4800408 E-mail: [email protected] - Internet: www.musik-druener.de Mitglied im Verband Deutscher Antiquare e. V. und in der Antiquarian Booksellers’ Association (als Associate von Otto Haas, London) USt-IdNr. DE 147436166 Ergänzungsliste zu Katalog 64 1907 bis 1957 50 Jahre Musik in Deutschland Geschäftsbedingungen, Abkürzungs- und Literaturverzeichnis S. 81-83 Katalog-Redaktion: Dr. Ulrich Drüner, Dr. Georg Günther und Annie-Laure Drüner M.A. © 2009 by Dr. Ulrich Drüner, 70188 Stuttgart, Germany - 2 - Vorwort Introduction In den letzten Jahren ergingen an unsere Firma diver- In recent years , we have been commissioned to se Kommissionsaufträge für Autographen, Musika- offer autographs, music and books which had been lien und Bücher, die während der Zeit des National- confiscated during the Nazi period and which, af ter sozialismus beschlagnahmt und nach 1990 restituiert 1990, were then restored to their right ful owners by worden waren. Dies gab Anlass zur Auseinanderset- German institutions. This became a reason for t ack - zung mit dieser Problematik und führte schließlich ling the problem, and finally led to planning a cat a - dazu, einen speziellen Katalog zum Thema Musik logue on the subject of Music and the ‘Third Reich’. und ‚Drittes Reich’ zu erarbeiten. Dieser Katalog The aim of this cat alogue is not, however, to explain dient allerdings nicht dazu, über Grundsätzliches auf- basic historical fact s, to accuse or to condemn – this zuklären, anzuklagen oder zu verdammen – das wur- has already been done, quite rightly, as recently as de spätestens in den 80er und 90er Jahren des letzten the 1980s and 1990s. – Af ter a period of intense Jahrhunderts getan – ganz zu Recht. Nach drei collecting, we are now presenting farreaching Jahren des Sammelns und Sichtens wird in beiden material, and we will try to show some of the main Katalog-Teilen ein weitreichendes Material vorgelegt aspects of a period in music history, central to the mit der Absicht, daraus einige wesentliche Aspekte ‘Thousand-year Reich’. While working, we made a einer Musikepoche darzustellen, in dessen Mitte das number of observations that we will advance here ‚Dritte Reich’ steht. Einige bei der Arbeit gemachten as hypotheses, and much of our material seems to Beobachtungen tragen wir hier als Thesen vor, für die confirm them. Many of these hypotheses will assist allerdings vieles im hier untersuchten Material us in judging and evaluating that era. spricht. Manches davon wird geeignet sein, zur sach- lichen Einschätzung jener Epoche beizutragen. W e are speaking here about an era; this means that Wenn hier im Rahmen der Musik von einer Epoche there are stylistic and ideological element s, which die Rede ist, so meinen wir, dass in diesem Sinne das can clearly be linked with that period. In this sense, ‚Dritte Reich’ in der Musik keineswegs erst 1933 the ‘Third Reich’ does not just begin in 1933 and beginnt und 12 Jahre später endet. Denn musikstili- does not even end just twelve years later. Stylistic stische Merkmale oder musikschriftstellerisch trans- character and musicological thought with fascist or portiertes Gedankengut mit faschistischen oder fa- fascistic content, are found much earlier and conti - schistoiden Eigenschaften sind lange vorher nach- nue to be ef fective long af ter 1945. This is funda - weisbar und wirken nach 1945 fort. Dies Unterschei- mental to our project. The duration of the Nazi dict a - dung ist von grundsätzlicher Bedeutung. Die Dauer torship was, purely historically, so short that too der Nazi-Diktatur ist rein zeitlich so kurz, dass allzu many historians tend to consider it s attendant cultu - Viele bereit sind, deren kulturelle Begleitumstände als ral circumst ances as ‘accident s’, under which they ‚Unfall’ zu betrachten und daraus eine Schlussstrich- wish to draw a line. Forderung abzuleiten. If we agree that, in art and society, the effects of fas - Geht man jedoch von der Annahme aus, dass sich die cist thinking may not be restricted to the ‘Thousand Wirkung faschistischen Denkens in Kunst und Ge- years’ from 1933 to 1945, it becomes evident that a sellschaft nicht auf die ‚tausend Jahre’ zwischen 1933 final line under this discussion (‘Schlussstrich’ deba- und 1945 reduzieren lässt, wird die Haltlosigkeit te in Germany) is impossible. An artistic era, which jeder ‚Schlussstrich’-Forderung offensichtlich. Denn lasted much more than half a century from it s rise eine Kunstepoche, die weit mehr als ein Halbjahr- until it s decline, cannot be an accident, and a histo - hundert gebraucht hat, um sich zu entwickeln und rical process which is, in the field of music, still ef fec - wieder abzuklingen, ist kein Unfall, und man kann tive today , may not be stopped by ‘drawing a line’ auch keinen Schlussstrich unter sie setzen, weil sie somewhere. Throughout the periods just before, Teil eines geschichtlichen Prozesses ist, der auch in during and af ter the ‘Third Reich’, music history der Musik bis heute intensiv fortwirkt. Mehr noch: went in a direction which cannot be explained other Die Musikgeschichte hat durch die Zeit kurz vor, than politically . Although the nazi penetration of während und nach dem ‚Dritten Reich’ eine Rich- German justice administration, for inst ance, was tung eingeschlagen, die sonst nicht vorstell- und er- much more deeply entrenched and more persistent klärbar wäre. Obwohl beispielsweise in der deutschen af ter 1945 (cf. Die Zeit, 29 November 2007, p. 114), Justiz die Durchdringung des „Apparates“ mit Nazis the ef fect s of that prevail less todaythan in the field viel vollständiger war und auch nach 1945 noch viel of music. The fact that the destruction of the intensiver angedauert hat (s. Die Zeit, 29. 11. 2007, S. ‘Second Viennese School’ from 1933 onwards was 114), sind in jenem Bereich die Auswirkungen heute ef fective ly compensated after 1945, that im Ganzen weniger spürbar als in der Musik. In letzte- Mendelssohn has been fully rehabilit ated and that rer wurde die 1933 eingeläutete Zerstörung der Zwei- several of Mahler ’s symphonic works are now more ten Wiener Schule nach 1945 zwar wirkungsgeschicht- popular than some by Richard Strauss, gives us lich weitgehend ausgeglichen und Felix Mendelssohn - 3 - Bartholdy voll rehabilitiert; auch erreichen einige sin- been fully rehabilit ated and that several of Mahler ’s fonische Werke von Gustav Mahler heute höhere Auf- symphonic works are now more popular than some führungszahlen als die von Richard Strauss, doch ist by Richard Strauss, gives us only a small p art of the das längst nicht alles – für viele andere Komponisten complete picture: For many other composers, such sind solche Revirements nicht einmal ansatzweise reshuf fles are inconceivable. The careers of compo- denkbar. Karrieren wie die von Braunfels, Dessau, sers such as Braunfels, Dessau, Eisler, Eisler, Goldschmidt, Korngold, Krenek, Schreker, Goldschmidt, Korngold, Krenek, Schreker, Toch, Toch, Weill, Zemlinsky und vielen anderen haben W eill, Zemlinsky and many others, suf fered from ‚Knicke’ oder gar ein vorzeitiges oder gewaltsames setbacks or premature or forced ends, whose Ende erlitten, was sich bisher als rezeptionsgeschicht- effect s prove to be irrep arable. lich irreparabel erwiesen hat. How far would ‘Aryan’ musicians such as Egk, Andererseits nutzten Musiker wie Egk, Einem, For- Einem, Fortner, Orff, or less gifted ones such as tner, Orff, oder gar Halbtalente wie Bresgen, Gerster, Bresgen, Gerster, Knab, Maasz and others have Knab, Maasz und andere die Ausschaltung der ‚ent- gone, if the extermination of the so-called ‘degene - arteten’ Konkurrenz durch die Nazis. Wo stünde die rate music’ had not served their own interest s so deutsche Musikwissenschaft, wenn man nach 1945 conveniently even af ter 1945? Where would die im Exil lebenden großen Forscher zurückgeholt German musicology stand if exiled scholars had hätte, anstatt mit den braunen ‚Platzhirschen’ immer been fetched back af ter 1945, instead of continuing weiter so zu tun, als sei nichts geschehen? Die nach working with ‘brown’ home teams as if nothing had 1933 zerstörte ‚deutsch-jüdische Kohabitation’ war im happened? Where would German music history be 19. Jahrhundert oft kontrovers, aber ungemein frucht- today, if German-Jewish cohabit ation had continued bar. Anders als die Demokratisierung, die nach 1945 af ter 1933, as indeed was the case during the 19th schließlich besser gelang als in der Zeit vor 1933, ist century, and which was a highly controversial, albeit Kunst zu sensibel und zu komplex für derartige An- exceptionally fruit ful, phenomenon? Unlike demo- knüpfungen. Deshalb ist die Musik nach 1945 keines- cratization, which was more ef fective af ter 1945 wegs auf den Zustand vor 1933 zurückgegangen, son- than in the W eimar Republic, art is too sensitive and dern ist im Grunde – so scheint es – eine andere gewor- too complex for such a comeback, which proved den. Die Zerstörung waren zu groß und definitiv. possible in the field of politics and society. Was Anfang und Ende faschistoider Musik betrifft, Therefore, German music did not even remotely so können wir hier nur einen Ausschnitt der fragli- return to it s pre-1933 st ate: Indeed, it seems more chen Epoche behandeln. Obwohl bereits im Natio- likely that, after 1945, German music became a nalismus und im Fremdenhass des 19. Jahrhunderts totally dif ferent entity . The wreckage was too extre- die Wurzeln des Faschismus zu suchen sind und sich me and definitive. diese schon damals im Bereich der Musik äußerten As for the beginning and the end of fascist pheno - (z. B. in Richard Wagners Schriften), beginnt eine mena in music, we only can deal with a p art of the durchgängige Linie faschistisch-rassistischen Musik- era in question. Several root s of fascism were alrea - schrifttums anscheinend erst kurz vor dem Ersten dy prevalent in 19th century nationalism and xeno - Weltkrieg.
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