||National socialism, the third reich, and the musical scene. Music, economics, and political opportunism ; Nazi agencies of music administration ; Nazi musical careers -- Musical professionalism and olitical compromise. Hitler's bias: Knappertsbusch and his nemesis Krauss ; Political allegiance and career enhancement -- Persecuted and exiled Jewish and anti-Nazi musicians. Nazi anti-Semitic policy in the music sector ; Jewish musicians under Nazi rule ; Jewish flight and exile ; Exiled non-Jewish musicians -- Music in the institutions. Family, school, and Hitler youth ; THe academies and the protestant church -- Dissonance and deviance. The Nazi struggle for modernity in music ; The ambiguities of dissidence: Orff, Wagner-Regeny, and Furtwangler ; Balancing Acts: Strauss and Pfitzner ; Forms of resistance.
||Is music removed from politics? To what ends, beneficent or malevolent, can music and musicians be put? In short, when human rights are grossly abused and politics turned to fascist demagoguery, can art and artists be innocent? These questions and their implications are explored in the author's broad survey of musicians and the music they composed and performed during the Third Reich. Great and small - from Valentin Grimm, a struggling clarinetist, to Richard Strauss.
|Bibliography note||Includes bibliographical references and index.|