By David Monod
Classical track was once crucial to German nationwide identification within the early 20th century. The preeminence of composers akin to Bach and Beethoven and artists resembling conductor Wilhelm Furtwangler and pianist Walter Gieseking used to be pointed out by means of the Nazis as justification for German expansionism and as proof of Aryan superiority. within the minds of many americans, additional German aggression may be avoided provided that the population's religion in its ethical and cultural superiority was once shattered. In Settling Scores, David Monod examines the tried "denazification" of the German song international via the song keep watch over department of the knowledge keep watch over department of army govt.
The occupying American forces barred from the degree and live performance corridor all former Nazi celebration individuals or even someone deemed to demonstrate an "authoritarian personality." in addition they imported eu and American song. those activities, despite the fact that, divided American officers and outraged German audiences and performers. still, the long term results have been more than has been formerly well-known, as German govt officers regained neighborhood regulate and voluntarily constrained their involvement in inventive lifestyles whereas selling "new" (anti-Nazi) music.
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Extra info for Settling Scores: German Music, Denazification, and the Americans, 1945-1953
Initially, the new division would control the press, radio, and entertainment industries, but the full range of its responsibilities still had to be speciﬁed. In January, shaef drew up Military Government Law 191 which prohibited all ﬁlm, theatrical, and musical entertainment in Germany that was not authorized by the military administration through the issuance of a license. Two months later, pwd composed its own plans for a three-phase psychological warfare o√ensive in Germany. ’’ pwd therefore recognized the need to establish rapid controls over German media services to be followed by a lower-level surveillance phase that could be continued under State Department authority over the long haul.
As more people listened, more orchestras took to the air. ’’ But while classical music did have a widening public, the ﬁne arts establishPreparing for Music Control | 15 ment in the country remained centered in the East Coast and was presided over by such inﬂuential arbiters of taste as the newspaper critics Virgil Thomson and Olin Downes. In the late nineteenth century, concertgoing had become, for the a∆uent, an emblem of their status and a mark of cultivation. Their ﬁnancial support maintained the country’s musical institutions.
Not that there were many places for them to play, even if they could be rounded up. ∞∫ Nowhere was the destruction greater than in the Berlin John Bitter toured in late July 1945. Ravaged by years of Allied bombing and devastated by ten days of bitter street ﬁghting at the end of the war, the city had just endured two months of savage Soviet occupation. The Red Army, which pummeled its way through Berlin in the last days of April, only withdrew from the city’s western half on 11 July to make way for the British, American, and, eventually, French troops.
Settling Scores: German Music, Denazification, and the Americans, 1945-1953 by David Monod