LEADER 03437cam a2200361 a 4500003 hubpceuo 005 20221214160729.0 008 960220s1997 nyu b 001 0 eng 010 96006339 020 0195096207 040 DLC |cDLC |dDLC |dhubpceuo |beng 041 eng 043 e-gx--- 050 00 ML275.5 |b.K38 1997 082 00 780/.943/09043 |220 100 1 Kater, Michael H., |d1937- 245 14 The twisted muse : |bmusicians and their music in the Third Reich / |cMichael H. Kater. 260 New York : |bOxford University Press, |c1997. 300 xv, 327 p. ; |c24 cm. 504 Includes bibliographical references and index. 505 1. National Socialism, the Third Reich, and the Music Scene -- 2. Musical Professionalism and Political Compromise -- 3. Persecuted and Exiled Jewish and Anti-Nazi Musicians -- 4. Music in the Institutions -- 5. Dissonance and Deviance. 520 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 Michael Kater'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, renowned composer--are examined by Kater, sometimes in intimate detail, and the lives and decisions of Nazi Germany's professional musicians are laid out before the reader. Who collaborated? And to what extent? Who was persecuted, and to what effect? Along the way, Kater manages to debunk, authoritatively, old arguments and expose collaborators--notably Elisabeth Schwarzkopf, the major opera diva of the 1950s and 60s, who has for years adamantly denied her affiliation to the Nazi party, is shown to have ingratiated herself with the Nazi rulers. More widely, Kater tackles the issue of whether the Nazi regime, because it held music in crassly utilitarian regard, acted on musicians in such a way as to consolidate or atomize the profession. Kater's examination of the value of music for the regime and the degree to which the regime attained a positive propaganda and palliative effect through the manner in which it manipulated its musicians, and by extension, German music, is of importance for understanding culture in totalitarian systems. This work, with its emphasis on the social and political nature of music and the political attitude of musicians during the Nazi regime, will be the first of its kind. It will be of interest to scholars and general readers eager to understand Nazi Germany, to music lovers, and to anyone interested in the interchange of music and politics, culture and ideology. 580 The Roger Griffin ComFas Collection 650 0 Music |zGermany |y20th century |xHistory and criticism. 650 0 National socialism and music. 650 0 Music and state |zGermany |xHistory |y20th century. 880 |6245 942 |2ddc |cBK 952 |00 |10 |2ddc |40 |6780_000000000000000__943_09043_KAT |70 |8GEN |9161044OSA |bOSA |d2022-11-30 |eComFas |l0 |o780/.943/09043 KAT |r2022-11-30 |w2022-11-30 |yBK |cGeneral Stacks 920 01 KXMdGDo7 992 01 780_000000000000000__943_09043_KAT |bSRZ_ZZZZZZZZZZZZZZZ__QVW_ZQZVW_FP6 966 |cIn the Research Room