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Notes and References Notes and References 1 Conservative Musical Reaction in the Weimar Republic, 1919-33 I. Alfred Morgenroth (ed.), Hiirt auf Hans Pfitzner! (Berlin, 1938) p.32. 2. Reinhold Zimmermann, 'Der Geist des Internationalism us in der Musik', Deutschlands Erneuerung (Munich), September 1920, p.580. 3. Karl Storck, Die Musik der Gegenwart (Stuttgart, 1922), p.8. 4. Storck, Die Musik, p.205. 5. Storck, Die Musik, pp.165-77. 6. 'Besprechungen', Bayreuther Bliitter, 44 (1921), p.103. 7. 'Besprechungen', Bayreuther Bliitter, 45 (1922), pp.57 and 58, and 47 (1924), p.53. 8. 'Dem ausseren Kampf muss dem inneren vorausgehen. Unser Kampf gilt dem heiligen 1nhalt' ('The internal must precede the external fight. Our fight is a necessary spiritual content') , Bayreuther Bliitter, 4 7 (1924), p.l. 9. Alfred Heuss, 'An die Leser der Zeitschrift fUr Musik', ZJM, October 1921' p.486. 10. Heuss, 'An die Leser' p.486. 11. Alfred Heuss, 'Die musikalische Internationale. Zur Gnindung einer Ortsgruppe Leipzig der "lnternationalen Gesellschaft fUr neue Musik', ZJM, February 1924, pp.49-60. 12. Alfred Heuss, 'Arnold Schoenberg- Preussischer Kompositionslehrer', ZJM, October 1925, pp.583-5. 13. Adolf Hitler, tr. E.S. Dugdale, Mein Kampf(London, 1933), p.225. 14. N.H. Baynes (ed.), The Speeches of Adolf Hitler (London, 1942), vol. 1, pp.66 and 108. 15. 'Die Kulturkrise der Gegenwart', Viilkischer Beobachter, 27 February 1929. 16. Amongst those primarily concerned with attacking cultural modernism were the Nuremberg Feierabendgesellschaft and Munich's Verein fUr kiinstlerische Interesse: see B. Miller Lane, Architecture and Politics in Germany 1918-1945 (Cambridge, Mass., 1968, 2nd edn 1985) p.148. 17. 'Kreuz und Quer: Ein Kampfbund fUr deutsche Kultur', 7JM, February 1929, p.95. 18. Reinhard Bollmuss, Das Amt Rosenbergund seine Gegner (Stuttgart, 1970), p.29. 19. Hans Heinsheimer, 'Neues vom Tage', Anbruch,January 1931, pp.3-4. 20. 'Ein gutes Beispiel', Kritik der Zeit, NS Monatshefte, 1930, p.43. 21. In june 1930, for example, the ZJMadvertised publications by the racial specialist Hans F.K. Gunther, including Nordic Thought and Jewish Ethnology. 22. 'Musiker in dieser Zeit', 7JM, October 1930, pp.834-5. 23. 'Zeitschriften-Schau', 7JM, October 1932, p.850. 243 244 Notes and References 24. Hans Severns Ziegler, Praktische Kulturarbeit im dritten R£ich (Munich, 1931), pp.39-40. 25. Bollmuss, Das Amt Rosenberg, p.29. 26. 'Neuen Opemkultur', NS Monatshefte, March 1931, p.69. 27. 'Rundfunk im dritten Reich', NS Monatshefte, December 1931, p.32. 2 Music and State Control 1. Reinhard Bollm uss, Das A mt Rosenberg und seine Gegner (Stuttgart, 1970), p.29. 2. Law of 13 March 1933. 3. See Fritz Stege, 'Der neue musikpolitischen Kurs in Preussen', ZJM, March 1933, p.264, for the outline of Rust's plans. 4. Graener's unequivocal support for the Nazis was manifested on 10 February 1933, when he launched a vociferous protest during a concert of new music given at the Berlin Hochschule fiir Musik, demanding the resignation of its director Georg Schunemann. See Joseph Wulf, Musik im dritten R£ich (Gutersloh, 1963; 2nd edn 1966), pp.15-16. 5. Max Butting, Musikgeschichte die ich miterkbte (Berlin, 1955), p.99. 6. Fritz Stege, 'Aufruf an die deutsche Musikkritik', ZJM, May 1933, pp.479-80. 7. A proposal for the formation of a music chamber of this nature had been postulated in 1930. See 'Aus neuerschienenen Buchem', ZJM, January 1930, p.2 from 0. Goguel Musikkiimmern. Ein Vorschlag zur Gesundung des deutschen Musikkbens. For more details of Havemann's plans, see M. Thrun, 'Die Errichtung der Reichsmusikkammer' in Heister/Klein ( eds), Musik und Musikpolitik im faschistischen Deutschland (Frankfurt, 1984) p.75. 8. See Havemann's correspondence in Wulf, Musik pp.106-15. 9. One of these organisations was the Reichsverband Deutscher Tonkunstler und Musiklehrer, which Havemann had already courted in 1932. 10. Law of 30 June 1933. 11. Joseph Goebbels, Die Tagebilcher von Joseph Goebbels (Munich, 1987), vol. 2, p.456. 12. Goebbels_, Die Tagebilcher, p.456. 13. An entry from Goebbels's Diaries, dated 23 August, demonstrates that Goering was also criticising Rosenberg and the Kampfbund. See Goebbels, Die Tagebilcher, p.460. 14. Fritz Stein, for example, was appointed to lead the Reichsverband der gemischten Chore in the RMK. 15. 'Staatskommisar Hinkel uber die Arbeit des KfdK', VOlkischer Beobachter, 17/18 December. 16. E.B. Wheaton, Prelude to Calamity: The Nazi Revolution, 1933-1935 (New York, 1969), pp.415-16. 17. Heinz Ihlen, Die R£ichsmusikkammer. Ziek, Leistungen und Organisation (Berlin, 1936), pp.16-17. 18. Hans Hinkel, Handbuch der R£ichskulturkammer (Berlin, 1937), p.92. Notes and References 245 19. Despite his reputation for demanding high fees on behalf of his own music, Richard Strauss had worked hard to further the working condi­ tions of the German composer, having founded the GDT in 1913 for this very purpose. The Presidency of the RMK was therefore the reali­ sation of a lifetime's ambition to oversee the organisation of German music. 20. Hildegard Brenner, Die Kunstpolitik des Nationalsozialismus (Reinbek, 1963), p.59. 21. ZJM, March 1934, p.289. 22. See Strauss's letter to Julius Kopsch, outlining his disillusionment with the RMK and implying that their laws were 'amateurish nonsense', printed in Ernst Krause, Richard Strauss. The Man and His Music (Lon­ don, 1964), p.54. 23. Alfred Morgenroth (ed.), Von deutscher Tonkunst. Festschrift fur Peter Raabe (Leipzig, 1942) pp.237-47. 24. Joseph Goebbels, Die Tagelmcher, vol. 3, p.273. 25. In 1936, the RMK and the Reichstheaterkammer (RTK) were even at loggerheads when the RMK tried to prohibit concerts given by mem­ bers of the RTK. The RTK responded by declaring that every conductor or singer belonging to its membership was entitled to exercise his vocation in concerts without acquiring membership of the RMK. 26. Equally noteworthy, in view ofGoebbels's growing antagonism towards composers of serious music, was the increased status allotted to practi­ tioners of light music. Hinkel's re-organisation of the RMK was as follows: Three Sections: A. Culture: Department 1: a. Composers b. Soloists c. Orchestral musicians d. Light music Department 2: Music teachers Department 3: Choral and Folk Music a. DSB (German Singers' Union) b. Mixed Choirs c. Folkmusic d. Evangelical Church and Trombone Choirs Department 4: Concert management Department 5: Musical instruments and sheet music B. Finance: Department 6 C. Laws: Department 7 27. Goebbels, Die Tagelmcher, vol. 3, p.l78. 28. Amtliche Mitteilungen, ZJM, March 1939, p.331. 29. Amongst those honoured by Hitler with the Goethe prize were Reznicek (1934), Sibelius (1935), Woyrsch (1936), Seiffert (1938), Sandberger and Stein ( 1940), Zilcher and Tietjen ( 1941). 246 Notes and References 30. Auszeichnung deutscher Musiker durch der Fuhrer und Reichskonzler, ZJM, May 1937, p.528. 31. Amtliche Mitteilungen, ZfM, January 1941, p.60. 32. Goebbels, Die Tagebiiclurr, vol. 4, p. 78. 33. Goebbels, Die Tagebiiclurr, vol. 4, p.181. 34. Goebbels, Die Tagebiiclurr, vol. 4, p.l14. 35. Goebbels, Die Tagebiiclurr, vol. 4, p.259. 3 Anti-Semitism 1. Fred K. Prieberg, Musik im NS-Staat (Frankfurt, 1982), p.47. 2. Lucy S. Dawidowicz, The War against the jews (Harmondsworth, 1975), p.43. 3. The whole issue is dealt with in great detail in Gerhard Splitt, Richard Strauss 1933-1935. Aesthetik und Musikpolitik zu Beginn der nationalsozialistischen Herrschaft (Pfaffenweiler, 1987) pp.42-59. 4. Volkischer Beobachter, 19/20 March 1933, Berlin. 5. The telegram protesting against Nazi cultural policies was sent to Hitler on 1 April 1933 and bore the signature of the following musicians: Arturo Toscanini, Walter and Frank Damrosch, Serge Koussevitzsky, Arthur Bodansky, Harold Bauer, Ossip Gabrilowitsch, Alfred Hertz, Charles Martin Loeffier, Fritz Reiner and Rubin Goldmark. Three days later, Deutschlandsender (German radio) responded to this action by banning broadcasts of compositions and recordings by these artists. 6. Fritz Stege, 'Berliner Musik', 7JM, May 1933, pp.457-8. 7. See 'Bruno Walter verlaesst Deutschland', 7JM, April 1933, p.377. 8. Prieberg, Musik, p.44. 9. 'Much exception was taken to the stylised sets by Oskar Strnad and Jiirgen Fehling's treatment of the chorus as an undifferentiated mass': see Peter Heyworth, Otto Klemperer: His Life and Times, Vol. 1 (Cam­ bridge, 1983). p.410. 10. Fritz Stege, 'Berliner Musik', ZfM, March 1933, p. 243. 11. Writing in the magazine D.Kw, Hans Hinkel, the newly appointed Prussian State Commissar, brushed aside the notion that Tieyen had taken any initiative in this matter. He claimed that it was Klemperer who had retreated because the police had refused to guarantee public safety: 'We need our SA and SS for more important things than to protect the hall for Herr Klemperer ... the German public has for so long been provoked by not a few Jewish frauds in artistic life that - regrettable though it may be - Klemperer and Bruno Walter have to suffer from public feeling': Heyworth, Otto Klemperer, p.415. 12. Alfred Heuss, 'Musik in Leipzig', ZfM, April 1933, p.350. 13. The official documents which terminated their contracts at the Prus­ sian Academy of Arts are reprinted in Joseph Wulff, Musik im Dritten Reich (Giitersloh, 1963; 2nd edn 1966), pp.41-9. 14. A letter from the publisher Willy Strecker to the composer Igor Stravinsky written on 18 April 1933 is revealing in this respect, since it seems to typify the reaction of many politically neutral musicians towards the Notes and References 247 Nazi purges: 'This movement has so much that is healthy and positive that no one can regard the artistic and other consequences quite calmly. The battle is directed primarily against the communists and Jews whose influence is being checked to a considerable degree. A welcome cleaning-up operation has been undertaken ..
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