A Jewish Orchestra in Nazi Germany: Musical Politics and the Berlin Jewish Culture League

Notes

Notes Introduction 1. Jakob Wassermann, Mein Weg als Deutscher und Jude (Berlin: S. Fischer Verlag, 1921), 126. Quote translated in Paul Bookbinder, Weimar Germany: The Republic of the Reasonable (Manchester: Manchester University Press, 1996), 195. 2. Wassermann struggled however to be recognized as both German and Jew. See Michael Brenner, The Renaissance of Jewish Culture in Weimar Germany (New Haven: Yale University Press, 1996), 133–34. 3. Amos Elon, The Pity of It All: A History of the Jews in Germany, 1743–1933 (New York: Metropolitan Books, 2002), 356. 4. Donald L. Niewyk, The Jews in Weimar Germany (Baton Rouge: Louisiana State University Press, 1980), 13. 5. Alan E. Steinweis, Art, Ideology, and Economics in Nazi Germany (Chapel Hill: University of North Carolina Press, 1993), 104. 6. Niewyk, 33–35. 7. Eric D. Weitz, Weimar Germany: Promise and Tragedy (Princeton: Princeton University Press, 2007), 79. 8. See, for example, Brenner, The Renaissance of Jewish Culture in Weimar Germany. 9. Brenner, The Renaissance of Jewish Culture in Weimar Germany, 161. A. Z. Idelsohn credits the foundation of the Juwal Publishing Company to certain founders who had previously been a part of the Society for Jewish Folk Music in St. Petersburg. Like its predecessor, the Juwal Publishing Company published a number of Jewish folk-song arrangements. See A. Z. Idelsohn, Jewish Music in its Historical Development (New York: Schocken Books, 1929), 463–64. 10. See Brenner, The Renaissance of Jewish Culture in Weimar Germany, 177–78. 11. Hans Gärtner, “Problems of Jewish Schools in Germany during the Hitler Regime,” Year Book, Leo Baeck Institute 1 (1956), 124. 12. Brenner, The Renaissance of Jewish Culture in Weimar Germany, 59–61, 92–93. 13. Elon, 356. 14. Oded Heilbronner, “From Antisemitic Peripheries to Antisemitic Centres: The 159 Place of Antisemitism in Modern German History,” Journal of Contemporary History 35, no. 4 (October 2000): 563. 15. Michael Brenner and Derek J. Penslar, Introduction to In Search of Jewish Community : Jewish Identities in Germany and Austria, 1918–1933, ed. Michael Brenner and Derek J. Penslar (Bloomington: Indiana University Press, 1998), x. 16. See Detlev J. K. Peukert, The Weimar Republic: The Crisis of Classical Modernity, trans. Richard Deveson (London: Penguin Press, 1991), 160; and Weitz, 97, 141. 17. Steinweis, Art, Ideology, and Economics in Nazi Germany, 106. See also Saul Friedländer, Nazi Germany and the Jews, vol. 1, The Years of Persecution, 1933–1939 (New York: HarperCollins, 1997), 28, and Erik Levi,“Music and National Socialism: The Politicization of Criticism,” in The Nazi‹cation of Art: Art, Design, Music, Architecture, and Film in the Third Reich, ed. Brandon Taylor and Wilfried von der Will (Hampshire: Winchester Press, 1990), 168. 18. There were exceptions in the Berlin Philharmonic. This orchestra had over a hundred musicians, four of which were Jewish: the concertmaster Szymon Goldberg, ‹rst violinist Gilbert Back, and the two principal cellists Nicolai Graudan and Joseph Schuster . Goldberg and Schuster left Germany at the end of the 1933–34 season. But Graudan and Back remained in the Philharmonic until the summer and September 1935, respectively . See Misha Aster, “Das Reichsorchester”: Das Berliner Philharmoniker und der Nationalsozialismus (Munich: Siedler Verlag, 2007), 95, 101, 102–4. 19. Erik Levi, Music in the Third Reich (New York: St. Martin’s Press, 1994), 16. 20. Michael Kater, The Twisted Muse: Musicians and Their Music in the Third Reich (Oxford: Oxford University Press, 1997), 80. 21. Levi, Music in the Third Reich, 42. See also Friedländer, 10. 22. Albrecht Dümling, “The Target of Racial Purity: The ‘Degenerate Music’ Exhibition in Düsseldorf, 1938,” in Art, Culture, and Media under the Third Reich, ed. Richard A. Etlin (Chicago: University of Chicago Press, 2002), 62. 23. Kater, 109. 24. See Kater, 86. 25. See Shirli Gilbert, Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps (Oxford: Clarendon Press, 2005); John Eckhard, “Music and Concentration Camps: An Approximation,” Journal of Musicological Research 20, no. 4 (2001): 269–323; George Berkley, Hitler’s Gift: The Story of Theresienstadt (Boston: Brandon Books, 1993); and Joza Karas, Music in Terezín, 1941–1945 (New York: Beaufort Books Publishers, 1985). 26. Quoted in Dümling, 54. 27. For a more rigorous explanation of Schopenhauer’s conception of music, see Philip Alperson, “Schopenhauer and Musical Revelation,” Journal of Aesthetics and Art Criticism 40, no. 2 (Winter 1981): 155–66. 28. Anselm Gerhard, “Musicology in the ‘Third Reich’: A Preliminary Report,” Journal of Musicology 18, no. 4 (Fall 2001): 517–43. 29. Marian...