By Lily E. Hirsch
"Offers a transparent creation to a desirable, but little identified, phenomenon in Nazi Germany, whose very lifestyles may be a shock to most people and to historians. simply mixing basic historical past with musicology, the publication offers provocative but compelling research of complicated issues."---Michael Meyer, writer of The Politics of song within the 3rd Reich"Hirsch poses complicated questions about Jewish identification and Jewish song, and she or he situates those opposed to a political heritage vexed via the impossibility of actually potential responses to such questions. Her thorough archival learn is complemented via her large use of interviews, which supplies voice to these swept up within the Holocaust. A Jewish Orchestra in Nazi Germany is a e-book full of the tales of actual lives, a collective biography in smooth tune background that needs to not stay in silence."---Philip V. Bohlman, writer of Jewish tune and Modernity"An attractive and downright gripping historical past. The venture is unique, the examine is phenomenal, and the presentation lucid."---Karen Painter, writer of Symphonic Aspirations: German track and Politics, 1900-1945The Jewish tradition League was once created in Berlin in June 1933, the one association in Nazi Germany during which Jews weren't merely allowed yet inspired to take part in tune, either as performers and as viewers contributors. Lily E. Hirsch's A Jewish Orchestra in Nazi Germany is the 1st ebook to noticeably examine and parse the complex questions the lifestyles of this special association raised, resembling why the Nazis could advertise Jewish tune while, within the remainder of Germany, it used to be banned. The government's insistence that the League practice in basic terms Jewish tune additionally provided the organization's leaders and club with puzzling conundrums: what precisely is Jewish track? Who qualifies as a Jewish composer? And, whether it is real that the Nazis conceived of the League as a propaganda software, did Jewish participation in its actions quantity to collaboration?Lily E. Hirsch is Assistant Professor of song at Cleveland nation collage.
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Additional info for A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League
74 This proves that for the Nazis in charge, the real crime was not that Jewish audiences heard German music but rather that Jewish musicians played 32 a jewish orchestra in nazi germany German music. This reasoning is consistent with condemnations of conductors, such as Bruno Walter, who Nazi sympathizers believed performed German music in “un-German” ways. It also brings to mind attacks against the legacy of Felix Mendelssohn, who the writer Karl Blessinger, a Nazi Party member by 1932, believed revived Bach’s St.
The Nazis and Nazi sympathizers, on the whole, did not believe Jews had the racial strength of character to support a separate nation. Those that subscribed to the Jewish conspiracy theory also ultimately distrusted Zionist aims. This theory found a place in Nazi thinking thanks in large part to Rosenberg, who came to Munich from Estonia in 1919. With him, he brought his understanding of the “Protocols of the Elders of Zion,” which appeared in Russia in 1905 and is credited to Sergei Nilus, an extremist in the Russian Orthodox Church.
53 The League, in contrast, was closed to the general public. In this way, it did have a corollary after 1941 in the concentration camp Terezín. Terezín was originally a garrison town in northern Czechoslovakia, 60 kilometers north of Prague. The Nazis renamed Terezín Theresienstadt in October 1941, when they recon‹gured the town into a way station for distinguished Jews—artists, musicians, World War I veterans, and the elderly—before deportation to Auschwitz or Buchenwald. 54 The positive images of the camp, cultivated by the regime, were further cemented by musical performances at Kameradschaftsabende (evenings of fellowships), of‹cially sanctioned by the Nazis in charge on 28 December 1941.