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German Musicology and the Reception of Edvard Grieg, 1930-50

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German Musicology and the Reception of Edvard Grieg, 1930-50 German Musicology and the Reception of Edvard Grieg, 1930‐50 Prof. Dr. Michhlael Custodis Main Aspects I. History of Musicology ‐ antiquity initiates music theory / enlightment initiates music historiography ‐ music as a means of social distinction after 1800 ‐ cultural and national demand for musicological research: biographies, journals, work analysis, concert guides, encyclopedias, history books and scores with scientific precision ‐ musicology as an academic profession developing methodological standards ‐ national schools and international cooperation after 1900 II. Musicology in Germany 1920‐1950 ‐ universities in general conservative territory ‐ ideology entering the musicology and the humanities ‐ traditional topics and new tasks: german music from Bach to Wagner, Heinrich Schütz and music before 1700, „race“ and „nordic“ as new categories, anti‐modernism, centralized research, Volkslied and complete editions II. Musicology in Germany 1920‐1950 (continued) ‐ January 1933 as breaking point: a) radical persecution of Jewish and leftist musicians; b) „Gleichschaltung“ for total control and indoctrination; c) rivalries of ideological hardliners Alfred Rosenberg and Heinrich Himmler, pragmatic Joseph Goebbels and vain Hermann Göring ‐ massive expansion of German musilicology in the Thir d RihReich ‐ malicious positioning against emigrants who spread German academic traditions in Great Britain and the United States III. Grieg‐Narratives ‐ traditional German love for the „Nordic“ and Norway ‐ „Chopin of the North“ vs. „Little Schumann“: Aimar Grønvold, Norske Musikere, Kristiania 1883 and Rudolf M. Breithaupt, Edvard Grieg, in: Die Musik 3 (1903/04), Nr. 12 ‐ master of small forms ‐ fighter for national independence ‐ German traditions combined with folk song ‐ Richard Eichenauer, Musik und Rasse (1932) ‐ Karl Gustav Fellerer, Edddvard Grieg, Potsdam 1942 ‐ Herbert Gerigk, Zum Grieg‐Jubiläum, in: Die Musik 1943, Nr. 3/4 ‐ Joseph Goebbels‘ admiration for Edvard Grieg (quoted from his diaries) June 9, 1925 Finally an evening on my own. I had a strong desire to be alone and in peace. A hot day has ended. […] These lovely smelling evenings in June remind me of Freiburg. Oh, these blessed times with brilliance and love’s perfume. Outside a piano is playing. Grieg! [Endlich wieder einmal ein Abend mit mir allein. Ich hatte eine große Sehnsucht nach Alleinsein und Frieden. Ein heißer Tag ist zu Ende gegangen. [][…] Diese wundervoll duftenden Juniabende erinnern mich an Freiburg. O, diese seligen Zeiten mit ihrem Glanz und Liebesduft! Draußen tönt Klavier. Grieg!] December 15, 1925 Yesterday with Karl Kaufmann to see “Peer Gynt”. Aases death with heavenly beauty. I thought of my mother and could have cried. How quickly life goes on, and rarely we have made hearts happy. Solveig’s cradle song. I have Grieg’s melody in my head all the time. Yesterday they performed it a little bit too maudlin. Temper and intellect are very close with Ibsen. Therefore sometimes he seems raw and cloddish, maybe even vulgar. His poetry is shameless and mean sometimes. But the music is virginal as the youngest child of nature. [Gestern mit Karl Kaufmann "Peer Gynt". Aases Tod überirdisch schön. Ich dachte an meine Mutter und hätte weinen mögen. Wie bald geht das Leben dahin, und wir haben so selten Herzen froh gemacht. Solveigs Wiegenlied. Mir geht Griegs Melodie immer durch den Kopf. Das Ganze wurde gestern etwas zu weinerlich gegeben. Bei Ibsen wohnen Gemüt und Verstand dicht nebeneinander. Deshalb erscheint er manchmal roh und ungeschlacht, ‐ vielleicht auch abgeschmackt. Die Dichtung ist manchmal schamlos und gemein. Doch die Musik ist keusch wie das jüngste Kind der Natur.] February 1, 1939 In the Evening to the Staatsoper with the Führer. Werner Egk “Peer Gynt”. We both go with strong distrust. But it is performed away [“wegmusiziert”] very soon. Egk is a very strong, original talent, going his own and also willful ways. Connecting to nobody and nothing. But he can really make music. I am very excited and the Führer aswell. A new discovery for both of us. This name one has to remember. This boy is but 27 years old. Und his music bears a unique, strong imprimt. Too bad that he chose “Peer Gynt” for composing. He is having hard times against Grieg. But he asserts himself nevertheless. [Abends mit dem Führer in der Staatsoper. Werner Egk "Peer Gynt". Wir gehen beide mit starkem Argwohn hin. Aber der wieder bald wegmusiziert. Egk ist ein ganz starkes, originales Talent. Geht eigene und auch eigenwillige Wege. Knüpft an niemanden und nichts an. Aber er kann Musik machen. Ich bin ganz begeistert und der Führer auch. Eine Neuentdeckung für uns beide. Den Namen muß man sich merken. Der Junge ist erst 27 Jahre alt. Und seine Musik trägt ein ganz eigenes, starkes Gepräge. Schade, daß er gerade den "Peer Gynt" zum Komponieren wählte. Er hat es dabei schwer gegen Grieg. Und trotzdem setzt er sich durch.] Literature Primary Sources • La Mara, Edvard Grieg, Leipzig 1911 • Karl Gustav Fellerer, Edvard Grieg, Potsdam 1942 • Karl Gustav Fellerer, Edvard Grieg und die Musik der Zeit, in: Die Musik 33 (1941), 2nd half‐year, p. 420‐421 • Kurt von Fischer, Edvard Griegs Harmonik und die nordländische Folklore, Bern and LiLeipz ig 1938 • Gerhard Schjelderup, Edvard Grieg. Biographie und Würdigung seiner Werke, Leippgzig 1908 (with Walter Niemann) • Wilhelm Weismann, Edvard Grieg als Liederkomponist, Leipzig 1932 Secondary Sources • Celia Applegate and Pamela Potter, Music and German National Identity, Chicago 2002 • Wolfgang Auhagen, Wolfgang Hirschmann and Tomi Mäkelä (ed.), Musik‐ wissenschaft 1900‐1930. Zur Institutionalisierung und Legitimierung einer jungen akademischen Disziplin, Hildesheim, Zürich and NY 2017 • Dorothea Baumann and Dinko Fabris (ed.), The History of the IMS (1927‐2017), Basel, Kassel, London, New York and Prague 2017 • Michael Custodis, Theodor W. Adorno und Joseph Müller‐Blattau: Strategische Partnerschaft , in: Archiv für Musikwissenschaft 66 (2009), Nr. 3 • Friedrich Blumes Entnazifizierungsverfahren, in: Die Musikforschung 65 (2012), Nr. 1 • (ed). Herman‐Walther Frey: Ministerialrat, Wissenschaftler, Netzwerker. NS‐Hochschulpolitik und die Folgen, Münster 2014 • RdlfRudolf GbGerber und die AfäAnfänge der Gluc k‐GtGesamtausga be, MiMainz und Stuttgart 2015 • Michael Custodis and Friedrich Geiger, Netzwerke der Entnazifizierung. Kontinuitäten im deutschen Musikleben am Beispiel von Werner Egk, Hilde und Heinrich Strobel, Münster 2013 • Michael Custodis and Arnulf Mattes, Zur Kategorie des „Nordischen“ in der norwegischen Musikgeschichtsschreibung 1930‐45, in: Archiv für MikiMusikwissensc hfhaft 73 (2016), Nr. 3 • Anselm Gerhard (ed.), Musikwissenschaft –eine verspätete Disziplin?, Stuttgart and Weimar 2000 • Friedrich Geiger, Musik in zwei Diktaturen. Verfolgung von Komponisten unter Hitler und Stalin, Kassel et al. 2004 • "Einer unter hunderttausend". Hans Hinkel und die NS‐Kulturbürokratie, in: Dresden und die avancierte Musik im 20. Jahrhundert. Part II: 1933‐ 1966, ed. by Matthias Herrmann and Hanns‐Werner Heister. Laaber 2002 • Die "Goebbels‐Liste" vom 1. September 1935. Eine Quelle zur Komponistenverfolgung im NS‐Staat, in: Archiv für Musikwissenschaft 59 (2002), Nr. 2 • Michael Kater, The Twisted Muse. Musicians and Their Music in the Third Reich, Oxford 1999 • David Monod, Settling Scores. German Music, Denazification, and the Americans, 1945‐1953, Chapel Hill and London 2005 • Fred K. Prieberg, Handbuch Deutsche Musiker 1933‐1945, CD‐R Kiel 2004 • Pamela Potter, Most German of the Arts. Musicology and Society from the Weimar Republic to the End of Hitler’s Reich, New Haven and London 1998 • Albrecht Riethmüller, „Die Stunde Null“ als musikgeschichtliche Größe, in: Geschichte der Musik im 20. Jahrhundert: 1925‐1945 (= Handbuch der Musik im 20. Jahrhundert, Vol. 2), edit. by himself, Laaber 2006 • Albrecht Riethmüller and Michael Custodis (ed.), Die Reichsmusikkammer. KtKunst im Bann der NiNazi‐Dikta tur, Köln, WiWeimar and Wien 2015 •Albrecht Riethmüller and Michael Kater (ed.), Music and Nazism. Art under Tyranny, 1933‐1945, Laaber 2003 • Ina Rupprecht, Der erste Künstler der Nation. Gerhard Schjelderups Bedeutung für die Grieg‐Biographik in Norwegen und Deutschland (1903‐1943), MA‐Thesis Münster 2017.
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