Opera, Community, and the Avant-Garde in Germany, 1932–1944
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Beschreibung
In the crowded room of work on music and National Socialism, this book pings out like a well-rung glass. ‘Avant-garde’ here doesn’t just name a historical gaggle of stylistic hallmarks. It names a formally and politically underdetermined wish to push art into life, as ongoing as socialism and barbarism today. Erwin’s commitment lets the book’s strange, distant, ultimately traitorous objects lift off the page and resound in our bad new present. An important, virtuosic, unsettling book.
—Seth Brodsky, Associate Professor, Music and the Humanities, University of Chicago
Erwin’s groundbreaking book uncovers how the Third Reich employed avant-garde music theatre to stoke cultural and racial community. Brilliantly combining historical, musical and social analysis, the book casts new and terrifying light on the relationship between music and politics, as well as on the nature of the avant-garde.
—Georgina Born, Professor of Anthropology and Music, University College London
Based on meticulous archival research, magisterial command of the historical literature and acute critical insight, Opera, Community, and the Avant-Garde in Germany, 1932–1944 reveals disturbing continuities between music theatre of the Weimar avant-garde, propagandistic Nazi Volksoper, and post-war operatic experiments. Erwin’s work is indispensable for scholars of music under National Socialism and twentieth-century opera alike.
—Björn Heile, Professor of Music (post-1900), University of Glasgow
Musicians and cultural institutions in Nazi Germany saw opera as a means of eliminating the division between bourgeois art and everyday life in service of fostering a national Volksgemeinschaft (people’s community). In pursuit of this political project, they turned to aesthetic strategies pioneered by the avant-garde movements of the Weimar Republic. Drawing from aesthetic theory, source studies, unpublished correspondence, and new archival sources, this book traces the development of avant-garde music theatre in the Third Reich through local and national developments in patronage and musical craft, rethinking both cultural policy in historical fascism and its implications for the contemporary avant-garde.
Max Erwin is Senior Lecturer in Music Studies at the University of Malta. His publications include Herbert Eimert and the Darmstadt School: The Consolidation of the Avant-Garde.
Musicians and cultural institutions in Nazi Germany saw opera as a means of eliminating the division between bourgeois art and everyday life in service of fostering a national Volksgemeinschaft (people’s community). In pursuit of this political project, they turned to aesthetic strategies pioneered by the avant-garde movements of the Weimar Republic. Drawing from aesthetic theory, source studies, unpublished correspondence, and new archival sources, this book traces the development of avant-garde music theatre in the Third Reich through local and national developments in patronage and musical craft, rethinking both cultural policy in historical fascism and its implications for the contemporary avant-garde.
Views the music and institutions of Nazi Germany through the lenses of musicology and performance studies Shows how Nazi Germany used musical theatre in their aim to foster an organic, racially-delimited Volksgemeinschaft Studies operas by Maurick, Souchay, Schliepe, and other composers of the era
Autor*in
Max Erwin
Themen in »Opera, Community, and the Avant-Garde in Germany, 1932–1944«
avant-garde Nazism opera ritual and myth Germany performance studies