DOCSLIB.ORG

The Olympic Art Competitions Were Performed Seven Times Between

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Olympic Art Competitions Were Performed Seven Times Between he Olympic Art competitions were performed THOMAS, GENZMER and TUUKANEN. And in two Tseven times between 1912 and 1948. From cases even the 'Olympic' compositions are said to 153 possible medals altogether only 124 (i.e. 81%) be available on record: were distributed. The percentages in the differ- ent categories are: Architecture 84%, Literature 1. Rudolf SIMONSEN (1889-1947), ,,Sinfonien 69%, Painting 84%, and Sculpture 84%. In Music - Nr. 2 a-moll, (1921) Hellas, Grondal/Dan. 39 were possible, but there were only 17 medals, ISA DA CORD 3701371" 5 gold, 6 silver and 6 bronze. The percentage in 2. Josef ŠUK "Ins Neue Leben op. 35c Marsch music is 43.5%, by far the worst result within the z.T. Sokolfest": In this case the catalogue five art categories. offers three recordings, two Czech Su- Altogether five medals (two gold, two sil- praphon (Kubelik/Tschech.Philh. Prag ver and one bronze) were distributed in the five KoSup 01911-2/Neumann/Tschech. music competitions in Stockholm 1912, Antwerp Philh. Prag KoSup 00624-4) and one 1920, Paris 1924, Amsterdam 1928 and Los Ange- American (Kunzel/Cincinnati Pops Orch les 1932. Then the situation seemed to improve. InaTe 80122). In Berlin and London 1948 twelve music medals were awarded (three gold, four silver and five The catalogue does, however, not mention the bronze). names of BARTHÉLEMY, MONIER, RIVA, HÖFFER, However, none of these works has left a trace KRICKA, BIANCHI, WEINZWEIG, LAURICELLA, TURSKI in the history of music; none has gained any repu- or BRENE. But there are. available recordings of tation, because their quality was not at all Olym- compositions by Kurt THOMAS (e.g. Sanctus from pian. Indeed, neither concerning their quality nor his Mass in C. op. 1), Harald GENZMER, Werner EGK quantity were the music competitions of any cul- (e.g. Geigenmusik with Orchestra 1936), Liviabella tural or artistic relevance. Probably only the com- (Three Pieces for Flute and Harp) and Kalervo TUU- positions which were awarded Olympic medals KANEN (e.g. Concerto for violin and Orchestra op. 45 in Berlin 1936 met some artistic demands, because and Symphony No. 3 op, 36), unfortunately not the composers like Werner EGK, Paul HÖFFER, Kurt 'Olympic' ones. THOMAS or Harald GENZMER won Olympic med- During the Berlin Games compositions by EGK, als, honors, which especially Werner EGK did not HÖFFER, THOMAS and LIVIABELLA were performed like to be reminded of later. and recorded during the concert2. Parts of them COUBERTIN'S dream that one day a great com- appeared on shellac.3 poser might create an important symphony of Though all in all there seem to be only two com- sport has not been fulfilled. mercial recordings of the medal-winning compo- In the seven Olympic Music Competitions.of sitions from seven Olympic music competitions, Stockholm, Antwerp, Amsterdam, Los Angeles, some radio stations may have tapes of "missing" Berlin and London (there was no music medal in works in their archives. Polish, Czech and Dan- Paris 1924) the following 17 composers from eight ish, however, did not answer my questions. Radio different countries were awarded with medals: Finland informed me about the existence of an LP BARTHÉLEMY (ITA), MONIER (BEL), RIVA (ITA), SI- recording (1950) of TUUKANEN "Karhunpyynti" (Sil- MONSEN (DEN), ŠUK (TCH), EGK, THOMAS, HÖFFER, ver medal London 1948). The catalogue number GENZMER (GER), LIVIABELLA (ITA), KRICKA (TCH), of the record, which is long since out of print, was BIANCHI (ITA), WEINZWEIG (CAN), LAURICELLA Fenrdca SS 5. It was performed by the Finlandia (ITA), TURSKI (POL), TUUKANEN (FIN) and BRENE Orchestra, conducted by the composer.4 (DEN). And the Radio Archives department of CBC RA- If any interested reader would like to study the DIO-CANADA has a recording of "Divertimento 1 for notes or listen to recordings of the medal-winning Flute Solo and Strings", composed by Jean WEINZ- compositions of the Olympic Games he would be WEIG In 1946. It was performed in Toronto at the at a loss. Are there recordings at all? There are. Royal Conservatory of Music by soloist Gordon In the German Bielefelder Katalog1, enlisting all DAY and the Chamber Orchestra and recorded live available recordings, from the above composers on Ma 16, 1951 as part of a "Musical Tribute to Jean we only find the names of SIMONSEN, ŠUK, EGK, Weinzweig".5 8 JOURNAL OF OLYMPIC HISTORY 13(NOVEMBER 2005)3 The situation of scores and notes of the honored Historically the music competitions of Stockholm compositions is also lamentable. were as meaningless as all the successors. But the Among GUEGOLD'S list of the Musical Scores Olympic Games created an extraordinary musi- (Appendix B) there is none.6 But there are printed cal boom in Sweden. LYBERG names more than a scores. dozen compositions, created for the reason of the BARTHELEMY'S manuscript of 1912 exists.7 But Olympic Games, from a "Marathon-Polka" by Her- it is doubtful whether the "Vème Olympiade Marche man LUNDBERG (honoring the long-distance run- Hymne" has ever been performed publicly, let ner John SWANBERG) to the one-step "Karina", by alone recorded. which the composer Theodor PINET honored his There are obviously no scores of the composi- yacht.12 tions by MONIER and RIVA (gold and silver medal According to LYBERG COUBERTIN was deeply 1920). surprised and overjoyed by the musical soirees For the works after 1920 the following Olym- framing the Games, and in an interview he de- pic compositions appeared in print:8 scribed the performances as the most impressive SIMONSEN (Raabe & Plothow Berlin), SUK, he had ever seen."13 (Hudebni Matice Prague), HÖFFER (Litolff Braun- schweig), THOMAS (Breitkopf & Hartel Leipzig), 2.1920 Antwerp LAURICELLA (Boosey London) KRICKA (Supraphon), Gold medal: Georges MONIER, BEL LIVIABELLA (Ricordi Rome), TURSKI (Polskie War- "Olympique" saw) and WEINZWEIG (Hawkes & Son London). Silver medal: Oreste RIVA, ITA In the wake of the Berlin Games the Olympia- "Epinicion" (Victory Song) compositions of the German composers THOMAS Bronze medal: none awarded and HÖFFER appeared in print, but are no longer available. The handwritten score of the "Olympis- The Belgian composer Georges MONIER (* 1892) che Festmusik" by EGK is in the archives of Schott's was born in Anderlecht. His victory at the Ant- Sohne in Mainz. werp Games was his first major success. He was leader of a group of avant-garde Bel- Results of the Olympic Music Competitions gian composers "Polyneaire" and co-editor of a 1.1912 Stockholm theoretical study of harmony. Among his works Gold medal: Richard BARTHELEMY, ITA there are motets, 2 big orchestral works (Poemes "Veme Olympiade Marche Hymne" musicales), sonatas, a quintet, 2 big choral works, Silver medal: none awarded numerous songs, 3 string quartets and also an Bronze medal: none awarded Opera buff a "La femme fatale". Concerning the medal winning work the Belgian Dictionaire des Most of the mysteries concerning Richard BAR- Musiciens14 gives only vague information: "VIII. THELEMY, winner of the first Olympic gold medal [sic!] Olympique de Pindare; Jeux olympiques, soli, re- In music, have been solved.9 But beside BARTHELE- citants, 3 choers et 3 orchestres." Obviously it was a MY'S "Olympic Triumphal March" there was a sec- composition of bigger dimensions. Certainly the ond Olympic march in Stockholm 1912. three choirs and orchestra were placed at differ- GUEGOLD10 gives the piano-score of an "Olympic ent sites of the arena, supported by soloists and Triumphal March" by a certain Dr. H. ALEXANDERS- recitors to present extracts from PINDAR'S odes. SON (1886 -) with the information that this com- This was a kind of music COUBERTIN had al- position received the first prize of the Swedish ways had in mind to decorate sports events. Olympic Committee and should not be mixed up It is doubtful whether MONIER'S "VII Olympi- with that composition, which was awarded the ade" was ever performed in public. It was impos- gold medal in the "Concours d'Art". sible to find a trace of the score, if there was ever a This Alexandersson composition was subject print of it. According to the Belgian Sportimonium of an inquiry At the IOC-Meeting at Stockholm it is "jammer genoeg onvindbaar". 15 1912 COUBERTIN had informed the assembly that Neither can notes, score or a recording of the on page 17 of the programme there was an advert "Victory Song'' of the forgotten Italian composer of a march, which was part of a Swedish compe- Oreste RIVA (1860-1936) be presented. RIVA is one tition and that he regarded this composition as of the few Olympic medallists who obstinately re- an unnecessary rivalry with the Olympic March sist every unveiling of person and work. of the International Competition. Count Carl Clarence von ROSEN, the Swedish IOC-Member, explained the respective Swedish Olympic March was completely independent of the Olympic Art Competitions.11 JOURNAL OF OLYMPIC HISTORY 13(NOVEMBER 2005)3 9 3.1924 Paris presented 22 works: five vocal, eight instrumental Gold medal: none awarded and nine compositions for orchestra. Silver medal: none awarded The Catalogue of the Art Exhibition contains Bronze meal: none awarded details about the music competition and its par- ticipants. With the exception of SIMONSEN mostly Seven composers from Australia, Belgium, unknown composers represented their countries. France, Great Britain and Norway took part.16 The In the categories A. "Compositions pour chant"', chairman of the jury was Charles Marie WIDOR. B. "Compositions pour un instrument" and C. "Com- According to the Official Report17 all first-class mu- positions pour orchestre" the following countries sicians were members of the Jury. There can be took part: no doubt that this enumeration was only a list of wishes, which the organizing art committee had "Allemagne.
Load more

Recommended publications
  • The Story of the Olympic Hymn: the Poet and His Composer
    The Story of the Olympic Hymn: the poet and his composer By Volker Kluge The Olympic Hymn by Thereafter a jury made up of IOC and US representatives Richard Strauss was would choose the winner. In fact, the prize jury consisted recognised by the only of Americans. Their countryman, pianist Walter IOC in 1936 as official. Bradley Keeler 4 was awarded first prize.5 As the Organising Bradley Keeler’s work, written in the style of an Anglo- Committee of the American church hymn, was played on 30th July 1932 at XI Olympiad was not the opening ceremony of the Games of the Xth Olympiad, in the position of as the Olympic flag rose to the top of the mast. For this the paying Strauss the Organising Committee had assembled a band with 300 10,000 marks he musicians: the Olympic choir – 1200 women and men demanded, it had the – sang the lyrics composed by Louis F. Benson. The text, score printed in large which called on the athletes no longer to fear the hand quantities and sold of the tyrant and to keep faith with liberty, was printed them for one mark. in the day’s programme so many spectators sang along.6 The profit benefited The hymn proved popular, which is why the poet the composer, but Alfred von Kessel translated it into German.7 The the lyricist was left translation was probably intended for the IOC Session empty-handed. in Vienna, but when this was opened on 7th June 1933 in the Academy of Sciences, the choir did not perform Photos: Deutsches Literatur- archiv Marbach, Volker Kluge Kessel’s text but a revised version which was one verse Archive shorter.
    [Show full text]
  • Das ‚Hohe Kulturgut Deutscher Musik' Und Das ‚Entartete'
    Das ‚hohe Kulturgut deutscher Musik‘ und das ‚Entartete‘ Über die Problematik des Kulturorchester-Begriffs LUTZ FELBICK Musikwissenschaftler, Aachen Abtract Für die Sicherstellung einer nachhaltigen Musikpflege werden in Deutschland Mittel durch die öffentlichen Haushalte bereitgestellt. Zur Stabilität des Musiklebens tragen weiterhin tarifliche Absicherungen für die Mitglieder von Sinfonieorchestern bei. In größeren Städten werden die kommunalen Mittel für Musikförderung vor allem für diese Klangkörper eingesetzt, die schwerpunktmäßig die großen Orchesterwerke des 19. Jahrhunderts aufführen. Die existenzielle Absicherung von anderen Kulturschaf- fenden, die sich z. B. der großen Bandbreite früherer Musikepochen oder der musi- kalischen Vielfalt des 20./21. Jahrhunderts inklusive des Jazz widmen, spielt in der Kulturpolitik eine untergeordnete Rolle. Ein wichtiger historischer Meilenstein für die Entwicklung dieses kulturpolitischen Profils ist in der Etablierung des deutschen ‚Kul- turorchestersystems‘ zu suchen, welches seit 1938 kontinuierlich ausgebaut wurde. In diesem Beitrag wird die Begriffsgeschichte des ‚Kulturorchesters‘ skizziert. Die- ser Abgrenzungsbegriff wurde während der Amtszeit des Präsidenten der Reichsmusik- kammer, Peter Raabe, zum rechtlichen Terminus erhoben. Der Ausdruck impliziert den damaligen Kulturbegriff, insbesondere die musikideologischen Anschauungen Raabes. Angesichts dieses historischen Befundes kommt die Studie zu dem Ergebnis, der Begriff des ‚Kulturorchesters‘ sei nicht mehr tragbar. Die Analyse führt
    [Show full text]
  • Performing for the Nazis: Foreign Musicians in Germany, 1933-1939
    University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2015-04-24 Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 Bailey, Robert Warren Bailey, R. W. (2015). Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/27304 http://hdl.handle.net/11023/2167 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Performing for the Nazis: Foreign Musicians in Germany, 1933-1939 by Robert Warren Bailey A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN THE SCHOOL OF CREATIVE AND PERFORMING ARTS, MUSIC CALGARY, ALBERTA APRIL, 2015 © Robert Warren Bailey 2015 Abstract This thesis focuses on foreign musicians in Nazi Germany from 1933 to 1939. What place did foreign musical performers have in Germany’s increasingly xenophobic employment market during the 1930s? Likewise, how did the Nazis deal with those musicians, and what margin of manoeuvre were foreigners given to carry out their craft? These are the questions that form the basis of this thesis. To answer them, I examine a collection of primary Reichsmusikkammer (Reich Music Chamber) records that are now held on microfilm in the United States National Archives, grouped under the description “Auftrittsgenehmigungen für Ausländer” (Performance Permits for Foreigners; specifically musicians).
    [Show full text]
  • 583 61. Tonkünstlerfest Bremen, 11. – 16. Mai 1931
    583 61. Tonkünstlerfest Bremen, 11. – 16. Mai 1931 Festdirigent: Ernst Wendel Ltg. Opern-Aufführungen: Hermann Adler, Karl Dammer Ch.: Philharmonischer Chor, Domchor, Bremer Lehrer-Gesangverein, Hollesche Madrigal- Vereinigung Stuttgart Ens.: Städtisches Orchester 1. Aufführung: Kammermusikkonzert Bremen, Die Glocke, Montag, 11. Mai, 11:30 Uhr Ltg.: Hugo Holle Sol.: H. Bremer (Fl.), Hedwig Faßbaender- Rohr (V.), August Schulz (Va.), Else C. Kraus (Kl.), Hanna Arens (Kl.) Ens.: Peter-Quartett = Fritz Peter (V.), Arnold Hess (V.), Gustav Peter (Va.), Karl Drebert (Vc.), Szántó-Quartett = Jani Szántó (V.), Anton Huber (V.), Valentin Härtl (Va.), Anton Walter (Vc.) Ch.: Holles Madrigal-Vereinigung Stuttgart Konzertflügel: Steinway & Sons 1. Kurt Spanich: Streichquartett op. 24 (UA) 1. Lebhaft und burschikos 2. Langsam 3. Schnell 2. Paul Feldhahn: Sonate für Flöte und Klavier (UA) 1. Sonatenschema 2. Langsamer dreistimmiger Satz 3. Frei gearbeitetes Fugato 3. Gustav Geierhaas: Drittes Streichquartett (UA) 1. Wuchtig-leidenschaftlich bewegt (quasi toccata – adagio appassionato) 2. Äußerst lebhaft (Scherzino) 3. Intermezzo (in ruhig fließender Bewegung – Überleitung zu 4.) 4. Allegro molto deciso Pause 4. Felix Petyrek: Beduinischer Diwan, 8 Lieder für kleinen gemischten A-cappella-Chor (1931, UA) Text: aus dem Arabischen, Übs.: I.C.E. Falls (≡ dt.) 1. Id el Lachme (Fest des Fleisches) 2. „Die Wölfe von Harâra“ 3. Die Auladali (Kriegslied) 4. Einem Mädchen 5. Mein Mädel 6. Die Geliebte 7. Einem toten Hund 8. Mein letztes Lied 584 5. Karl Höller: Concertino für Klavier, Violine, Bratsche und Kammerorchester (UA) 1. Toccata (Allegro strepitoso) 2. Siziliana (Allegretto) 3. Burletta (Allegro giocoso) 4. Interludium (molto lento et espressivo) 5. Chaconne (Energico) 2. Aufführung: Opernaufführung Bremen, Stadttheater, Montag, 11.
    [Show full text]
  • Hitler's Happy People: Kraft Durch Freude's Everyday Production Of
    Hitler’s Happy People: Kraft durch Freude’s Everyday Production of Joy in the Third Reich By Julia Timpe M.A., Brown University 2007 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of History at Brown University Dissertation Committee: Prof. Omer Bartov Prof. Deborah Cohen Prof. Ethan Pollock PROVIDENCE, MAY 2013 © 2012 by Julia Timpe The dissertation by Julia Timpe is accepted in its present form by the Department of History as satisfying the dissertation requirements for the degree of Doctor of Philosophy. ________________________ _____________________________________ Date Omer Bartov, Advisor Recommended to the Graduate Council _______________________ ______________________________________ Date Deborah Cohen, Reader _______________________ ______________________________________ Date Ethan Pollock, Reader Approved by the Graduate Council _______________________ ______________________________________ Date Peter Weber, Dean of the Graduate School iii CURRICULUM VITAE Julia Timpe was born on November 21, 1980 in Wolfenbüttel, Germany and came to Brown University, Providence, RI in 2004 as an exchange student from Humboldt University, Berlin, Germany, where she was enrolled in a Magister Artium program in the fields of Modern and Contemporary History (major,) Modern German Literature and European Ethnology (minors.) At Brown, she first worked as a Teaching Assistant in the Department of German Studies, before entering the Ph.D. program of Brown’s History Department in 2006. She received an A.M. in History from Brown in 2007 and passed her preliminary examinations with distinction in 2008 in her major field Modern German History (with Omer Bartov) and her minor fields Modern European History (with Deborah Cohen) and Modern Russian History (with Ethan Pollock.) At Brown, she has worked as a Teaching Assistant in the Departments of History and German Studies, taught several courses in Brown’s Summer Program and an undergraduate seminar on the history Weimar Germany in the History Department.
    [Show full text]
  • Music and Politics in Hitler's Germany
    Music and Politics in Hitler’s Germany In the years 1933-1945, Hitler’s Nazi Party [National Socialist Democratic Workers Party / NSDAP] used music as a tool to forge political unity among Germans. Hitler and the senior NSDAP leadership instinctively grasped that among the arts, music was the most readily laden with ideology, and could inculcate both the youth and the masses with state-serving Bildung.1 Nazi music education, promoted heavily by and among the Hitler Youth, expanded along with concerns of “cultural Bolshevism,” and served as a counterpoint to “degenerate music.”2 Once in power, Hitler moved to purge music and music scholarship of Jews in an effort to promote the unique origin myths of the German Volk and further saturate citizens with racial theories. In keeping with origin myths and racialism were the Romantic works of the composer Richard Wagner, a prominent anti-Semite who would assume supreme musical status in Hitler’s Germany.3 In such a personalized regime as Hitler’s, the dictator’s tastes virtually defined official aesthetic norms.4 Throughout the period of Hitler’s chancellorship, the musical bureaucracy of the NSDAP would struggle to balance the tensions between art music (symbolized by Wagner) and popular demand for music such as jazz. These very tensions were also reflected in the musical policies of the German occupation of Eastern Europe and Soviet Russia, an occupation which simultaneously plundered antique musical treasures and brought about demand for popular fare behind the lines. Ultimately the adoring songs of the soldiers – many of them graduates of the Hitler Youth -- would transform into a dirge.
    [Show full text]
  • An Uncrossable Rubicon: Liszt's Sardanapalo Revisited
    Journal of the Royal Musical Association ISSN: 0269-0403 (Print) 1471-6933 (Online) Journal homepage: http://www.tandfonline.com/loi/rrma20 An Uncrossable Rubicon: Liszt’s Sardanapalo Revisited David Trippett To cite this article: David Trippett (2018) An Uncrossable Rubicon: Liszt’s Sardanapalo Revisited, Journal of the Royal Musical Association, 143:2, 361-432, DOI: 10.1080/02690403.2018.1507120 To link to this article: https://doi.org/10.1080/02690403.2018.1507120 © 2018 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group. Published online: 05 Oct 2018. Submit your article to this journal Article views: 190 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rrma20 Journal of the Royal Musical Association, 2018 Vol. 143, No. 2, 361–432, http://dx.doi.org/10.1080/02690403.2018.1507120 An Uncrossable Rubicon: Liszt’s Sardanapalo Revisited DAVID TRIPPETT Liszt and opera Liszt’s brief career as an operatic composer is rarely taken seriously today. Despite a battery of operatic transcriptions and a storied variation set on Bellini’s ‘Suoni la tromba’ (I puritani), his only completed opera, Don Sanche (1825), is typically classed as an unsuccessful juvenile work of dubious authorship.1 All other planned operas of the 1840s and 1850s remained the embryos of ambition, including Richard of Palestine (Walter Scott), Le corsaire (Byron/Dumas), Consuelo (George Sand), Jankó (Karl Beck), Spartacus (Oscar Wolff), Marguerite (Goethe),2 Divina commedia (Dante/Autran), Email: [email protected] While preparing this article I have accrued a number of debts.
    [Show full text]
  • Zur Geschichte Des Deutschen Tonkünstlerverbandes
    Zur Geschichte des Deutschen Tonkünstlerverbandes Bearbeitung von Jürgen Lachner und Elisabeth Herzog nach: Hans-Joachim Vetter, „Die Tonkünstlerverbände 1844-1984, Regensburg 1984 Gründung Berliner Tonkünstlerverein (BTV) Erster Tonkünstler Berufsverband auf deutschem Boden. Gründungsmitglieder Bernhard Adolf Marx (Universitätsprofessor), Flodoard Geyer (Student), Theodor Kullak (Pianist), Dr. Franz Commer (Custos der Musikabteilung der Kgl. Bibliothek), Dr. Otto Lange (Musikkritiker der Vossischen Zeitung). 1844 Aktivitäten musikalisch-praktische und theoretische Vorträge Einrichtung einer Bibliothek Gründung eines Orchesters durch Kapellmeister Friedrich Wilhelm Wieprecht (Kern der späteren "Euterpe", somit Keimzelle der Berliner Philharmoniker.) Herausgabe Neue Berliner Musikzeitung (NBMz) Die NBMz Musikzeitung war eine musikalische Fachzeitschrift, die in den Jahren 1847–1896 bei Bote & Bock erschien. Sie war die Fortsetzung der Berliner musikalischen Zeitung, die 1844–1847 von Carl Gaillard herausgegeben worden war und als wichtigste Musikzeitschrift Berlins galt. 1847 Gegründet und herausgegeben wurde die NBMz durch Dr. Gustav Bock, einem damaligen Vorstandsmitglied des Verlages. Die NBMz berichtete ausführlich über das Musikleben in Berlin, aber auch aus anderen Städten Deutschlands und Europas, und war neben der Allgemeinen Musikalischen Zeitung und der Neuen Zeitschrift für Musik das einflussreichste Fachblatt in den deutschen Ländern. Die NBMz war das Publikationsorgan des Berliner Tonkünstlervereins. Tonkünstler-Versammlung in Leipzig Aus Anlass des 25jährigen Bestehens der Neuen Zeitschrift für Musik fand vom 1. - 4. Juni 1859 eine Tonkünstler-Versammlung in Leipzig statt. Franz Brendel hatte dazu als Chefredakteur Musiker aus verschiedenen europäischen Ländern eingeladen. Der dritte Tag der Tonkünstler-Versammlung wurde von Brendel mit einem Vortrag Zur 1859 Anbahnung einer Verständigung eröffnet. An Brendels Vortrag schlossen sich am 3. Juni 1859 noch weitere Beiträge an.
    [Show full text]
  • From Holy German Art to Degenerate Art: Nazi Ideology and Opera
    Bard College Bard Digital Commons Senior Projects Fall 2020 Bard Undergraduate Senior Projects Fall 2020 From Holy German Art to Degenerate Art: Nazi Ideology and Opera Jingyi Zhou Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_f2020 Part of the German Language and Literature Commons, and the Music Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Zhou, Jingyi, "From Holy German Art to Degenerate Art: Nazi Ideology and Opera" (2020). Senior Projects Fall 2020. 37. https://digitalcommons.bard.edu/senproj_f2020/37 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Fall 2020 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. From Holy German Art to Degenerate Art: Nazi Ideology and Opera Senior Project submitted to The Division of Languages and Literatures of Bard College by Jingyi Zhou Annandale-on-Hudson, New York December 2020 Acknowledgement I would like to express my deepest and most sincere gratitude to my project advisor and German professor Franz Kempf, who has always given me untiring support, insightful advice, and warm encouragement. I can’t imagine the completion of this project without his help and support. My thanks also go to Professor Peter Laki. Our meetings during the summer gave me a deeper understanding of this topic as well as clearer planning for my project. I also want to thank Professor Stephanie Kufner who first introduced this amazing topic to me last year.
    [Show full text]
  • Die Meistersinger Through the Lens of the Third Reich
    Loyola University Chicago Loyola eCommons History: Faculty Publications and Other Works Faculty Publications 2003 "The Most German of All German Operas": Die Meistersinger through the Lens of the Third Reich David B. Dennis Loyola University Chicago, [email protected] Follow this and additional works at: https://ecommons.luc.edu/history_facpubs Part of the Ethnomusicology Commons, European History Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Dennis, David B.. "The Most German of All German Operas": Die Meistersinger through the Lens of the Third Reich. Wagner's Meistersinger: Performance, History, Representation, , : 98-119, 2003. Retrieved from Loyola eCommons, History: Faculty Publications and Other Works, This Book Chapter is brought to you for free and open access by the Faculty Publications at Loyola eCommons. It has been accepted for inclusion in History: Faculty Publications and Other Works by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. © 2002 Nicholas Vazsonyi Die Meistersinger through the Lens of the Third Reich 99 6 this summary continues. "The Wagnerian motif was apparently suggested by Riefenstahl but was a natural and appropriate choice." 3 Such claims are generally taken for granted: students, general readers, and even scholars have little difficulty accepting associations between Wagner's nationalistic music drama and National S?cia~ist .self-promotion in film. However, the main premise of this content10n 1s simply not true: "The Most German of all while Triumph des Willens later refers to Die Meistersinger, 4 the film does not open with music from Wagner's opera.
    [Show full text]
  • Opera by the Book: Defining Music Theater in the Third Reich
    Opera by the Book: Defining Music Theater in the Third Reich The MIT Faculty has made this article openly available. Please share how this access benefits you. Your story matters. Citation Pollock, Emily Richmond. “Opera by the Book: Defining Music Theater in the Third Reich.” The Journal of musicology 35 (2018): 295-335 © 2018 The Author As Published https://dx.doi.org/10.1525/JM.2018.35.3.295 Publisher University of California Press Version Author's final manuscript Citable link https://hdl.handle.net/1721.1/125555 Terms of Use Creative Commons Attribution-Noncommercial-Share Alike Detailed Terms http://creativecommons.org/licenses/by-nc-sa/4.0/ 1 Opera by the Book: Defining Music Theater in the Third Reich EMILY RICHMOND POLLOCK What was “Nazi opera”? Scholars have long critiqued the most common tropes regarding the aesthetics of opera during the Third Reich—Richard Wagner around the clock, enforced militaristic kitsch, neo-Romantic bombast—and rejected the idea that the Reich’s bureaucratic efforts to control culture had as homogenizing an effect on German music as historians once thought.1 These tropes, which strategically alienated “Nazi music” from the historical teleology of Classical music and our common sense of musical “quality,” further enabled other, more pernicious myths to flourish: that great music is always autonomous, not political; that “Nazi” art (debased, instrumentalized) was something obviously distinct from “German” art (great, A version of this essay was first presented at the MIT Works in Progress Series and at the annual meeting of the American Musicological Society in Pittsburgh (November 2013).
    [Show full text]
  • Erik Levi Resisting Nazism – Hartmann, Blacher and Von Einem
    Erik Levi Resisting Nazism – Hartmann, Blacher and von Einem We are all too familiar with the extreme climate of fear perpetrated by the Nazi regime. The repressive measures unleashed by the totalitarian state were designed to muzzle opposition,makingitallbutimpossibletodefythestatusquo.Indeed,thosethatengaged in non-compliance were perfectly aware of the risks they were taking, and that the con- sequences of being found out could be severe. Nevertheless, charting the extent to which individuals might be regarded as being actively engaged in non-compliance or resistance during this period is by no means a straightforward process. It can prove particularly challenging in the case of cultural issues. The task of evaluating the often bewildering degree of responses by creative artists to the sequence of official directives that evolved during the “Third Reich” is invariably complex. It requires a certain degree of sensitivity in relating private thoughts, committed through diary entries and personal letters, or recounted in memoirs often published years later, with public action at the time. The question therefore arises as to whether it is possible to reconcile the inner recesses of the mind, that perhaps presented a stance of personal resistance, with day-to-day behaviour, which, to all intents and purposes, suggested obeisance and absolute political loyalty? This tension between the internal and external continues to be one of the major issues confronting scholars researching musical life in Nazi Germany. It begs a number of questions with regard to the position of some of the most prominent personalities. Yettemptingthoughitmightbetoclassifytheir activities as being specifically in either the complicit or resistance categories, such binary divisions prove far too blunt a tool to serve a useful purpose.
    [Show full text]