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By Lily E. Hirsch

"Offers a transparent advent to a desirable, but little identified, phenomenon in Nazi Germany, whose very lifestyles might be a shock to most of the people and to historians. simply mixing common background with musicology, the booklet presents provocative but compelling research of advanced issues."---Michael Meyer, writer of The Politics of track within the 3rd Reich"Hirsch poses complicated questions about Jewish id and Jewish song, and he or she situates those opposed to a political history vexed by means of the impossibility of actually practicable responses to such questions. Her thorough archival learn is complemented via her vast use of interviews, which provides voice to these swept up within the Holocaust. A Jewish Orchestra in Nazi Germany is a publication packed with the tales of genuine lives, a collective biography in glossy tune historical past that needs to now not stay in silence."---Philip V. Bohlman, writer of Jewish tune and Modernity"An enticing and downright gripping heritage. The undertaking is unique, the study is exceptional, and the presentation lucid."---Karen Painter, writer of Symphonic Aspirations: German song and Politics, 1900-1945The Jewish tradition League used to be created in Berlin in June 1933, the one association in Nazi Germany during which Jews weren't in simple terms allowed yet inspired to take part in track, either as performers and as viewers individuals. Lily E. Hirsch's A Jewish Orchestra in Nazi Germany is the 1st ebook to noticeably examine and parse the advanced questions the lifestyles of this targeted association raised, reminiscent of why the Nazis could advertise Jewish track whilst, within the remainder of Germany, it was once banned. The government's insistence that the League practice in basic terms Jewish song additionally provided the organization's leaders and club with puzzling conundrums: what precisely is Jewish song? Who qualifies as a Jewish composer? And, whether it is actual that the Nazis conceived of the League as a propaganda instrument, did Jewish participation in its actions quantity to collaboration?Lily E. Hirsch is Assistant Professor of track at Cleveland country college.

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What music would League leaders program, and how would members react? And ‹nally, how would all of this change over time, during the League’s tenure from 1933 through 1941? chapter two What Is Jewish Music? The League and the Dilemmas of Musical Identity masha benya, a singer with a hebrew and yiddish background, thought she would be a natural ‹t for the newly formed Jewish Culture League. She became an opera singer with the organization in 1937 and occasionally appeared with Anneliese Landau. However, earlier, she had approached one of the League’s leading men and explained that she wanted to sing Yiddish and Hebrew songs.

Former Berlin League member Margot Weintraub Sisman, for one, remembers attending the Berlin Staatsoper after 1933. 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.

Such a position gave these “guardians of culture” the ideological rationale to remove this harmful element from the realm of European high culture. This point is signi‹cant to our understanding of the formation of the League. Nazi leaders justi‹ed the creation of the League, in part, by arguing that when Jews performed German masterworks they degraded and polluted them. In short, Jews could and should only create Jewish music. 34 a jewish orchestra in nazi germany Such twisted logic corresponds in striking detail to the thinking behind the contemporary idea of cultural appropriation.

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