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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.
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  • Opera by the Book: Defining Music Theater in the Third Reich

    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).
  • Erik Levi Resisting Nazism – Hartmann, Blacher and Von Einem

    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.