The other day I saw a TV program about the Nazi regime and the exploitation of different forms of art in terms of political propaganda. About classical music the program was obviously centered in Wagner, but some intriguing comments were made about Beethoven and his interpreters. Among them, well, Karajan’s participation on the National Socialist Party in Austria was remarked and also Kempff and Furtwängler were mentioned as having had an obliging attitude towards the regime and having made a career thanks of that.*
Now the questions are
Were in B’s music or political opinions some elements from which the NR could have made use of in terms of political propaganda? (i.e. German identity, German myths, political authoritarianism, militarism, messiahnism, etc.)
Which of these elements were adopted, adapted or completely distorted, etc.
Who of the mentioned or other interpreters had a really close attachment to the regime.
Other interesting points surrounding cl. music and nazism you would like to discuss.
* I’m pretty sure this wasn’t the case for Furtwängler, firstly because he had already had a “career” before the Nazis arrived, and on the other hand I’m not so sure about he being so cooperative with them. Here’s an anecdote narrated by Richard Wagner's granddaughter Friedelind (well, not the best source, I know…) who witnessed a meeting between Hitler and Furtwängler at her mother's Bayreuth home:
'I remember Hitler turning to Furtwängler and telling him that he would have to allow himself to be used by the party for propaganda purposes, and I remember Furtwängler refusing. Hitler got angry and told Furtwängler that in that case there would be a concentration camp ready for him. Furtwängler was silent for a moment and then said: 'In that case, Herr Reichschancellor, I will be in very good company.'
Now the questions are
Were in B’s music or political opinions some elements from which the NR could have made use of in terms of political propaganda? (i.e. German identity, German myths, political authoritarianism, militarism, messiahnism, etc.)
Which of these elements were adopted, adapted or completely distorted, etc.
Who of the mentioned or other interpreters had a really close attachment to the regime.
Other interesting points surrounding cl. music and nazism you would like to discuss.
* I’m pretty sure this wasn’t the case for Furtwängler, firstly because he had already had a “career” before the Nazis arrived, and on the other hand I’m not so sure about he being so cooperative with them. Here’s an anecdote narrated by Richard Wagner's granddaughter Friedelind (well, not the best source, I know…) who witnessed a meeting between Hitler and Furtwängler at her mother's Bayreuth home:
'I remember Hitler turning to Furtwängler and telling him that he would have to allow himself to be used by the party for propaganda purposes, and I remember Furtwängler refusing. Hitler got angry and told Furtwängler that in that case there would be a concentration camp ready for him. Furtwängler was silent for a moment and then said: 'In that case, Herr Reichschancellor, I will be in very good company.'
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