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By Lily E. Hirsch

"Offers a transparent creation to a desirable, but little identified, phenomenon in Nazi Germany, whose very life might be a shock to most of the people and to historians. simply mixing basic historical past with musicology, the booklet offers provocative but compelling research of advanced issues."---Michael Meyer, writer of The Politics of track within the 3rd Reich"Hirsch poses advanced questions about Jewish id and Jewish track, and she or he situates those opposed to a political heritage vexed by means of the impossibility of really practicable responses to such questions. Her thorough archival examine is complemented through her vast 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 genuine lives, a collective biography in smooth tune heritage that needs to now not stay in silence."---Philip V. Bohlman, writer of Jewish track and Modernity"An enticing and downright gripping historical past. The undertaking is unique, the study is phenomenal, and the presentation lucid."---Karen Painter, writer of Symphonic Aspirations: German tune and Politics, 1900-1945The Jewish tradition League used to be created in Berlin in June 1933, the single association in Nazi Germany during which Jews weren't purely 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 booklet to significantly examine and parse the complex questions the life of this targeted association raised, equivalent to why the Nazis might advertise Jewish tune while, within the remainder of Germany, it was once banned. The government's insistence that the League practice simply Jewish track additionally awarded the organization's leaders and club with confusing 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 device, 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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Extra info for A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League

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92 This thinking was dependent on the idea that culture, an intangible enterprise, is a property that can be possessed by a nation. Nazi ideologues claimed German music in this way: “Those holding responsibility in this Jewish organization [the Kulturbund] may now show what they can do for their racial comrades. We shall not disturb them if they do not meddle in our German cultural life. . ”93 Reclaiming Germany’s cultural goods was necessary in order to avoid the consequences of this imagined Jewish appropriation.

The theater, now hosting the League, reopened on 2 October 1935. 10 With its mounting expenses, the League struggled economically. The League was not entitled to the government subsidy enjoyed by accepted Aryan musical institutions. Instead, membership dues were to fund these performance spaces as well as the salaries of its staff of artists. By October 1933, the League had about 12,500 members. This number increased to around 20,000 during the winter, approximately 10 percent of the Jewish population in Berlin.

In a memorandum sent to the League’s administrative advisers, dated 14 June 1935, Singer described the challenge the public posed to the League’s repertoire selection: “This AUDIENCE is the ‹rst problem. This audience wants to see what it considers agreeable and important, even in the Culture League Theater; it does not want to be taken aback by experiments; it does not want to be confused, neither in taste nor in feeling. . ”43 Therein lay the challenge. For most, music produced by composers striving to capture a Jewish national essence was just that.

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