Music - Social and Political Aspects, German Music, Classical Conductors, Directors, & Musicians - Biography, Musical Conducting, National Socialism
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Overview
When the great conductor Wilhelm Furtwangler (1886-1954) decided to remain in Germany under the Third Reich, he was widely and bitterly condemned as a Nazi collaborator who gave cultural and moral credibility to Hitler's regime. Although Furtwangler was exonerated at a de-nazification trial in 1947, his reputation as a Nazi sympathizer continued to darken both his personal and professional life. In this meticulously researched book, Fred K. Prieberg thoroughly investigates the renowned musician's uneasy position in Nazi Germany. Prieberg reveals in fascinating detail that Furtwangler, by persisting with his direction of the Berlin Philharmonic Orchestra and the Berlin Staatsoper, waged a heroic struggle to preserve and nurture the masterpieces of German music. For Furtwangler, the sacred traditions of German art transcended politics. Prieberg argues that Furtwangler resisted efforts by the Third Reich to exploit him as a propaganda tool. As the preeminent conductor in Germany, he used his influence to protect Jewish musicians and staff in his orchestra. He never gave the obligatory Nazi salute at concerts, even when Hitler was present, and avoided performing in occupied countries or for grand Nazi Party occasions. Furtwangler's unquestioning belief in the higher ideals of German art gave him the strength and courage to sustain his quiet yet effective opposition to the Third Reich. Trial of Strength presents convincing evidence that Wilhelm Furtwangler was neither Nazi nor Nazi sympathizer. It also illuminates the perils of artistic collaboration with a totalitarian regime.Editorials
Booknews
Prieberg, author of Music in the National Socialist State, investigates the renowned musician's uneasy position in Nazi Germany, revealing that Furtwangler was not a Nazi sympathizer, but rather, resisted efforts by the Third Reich to exploit him as a propaganda tool and used his influence to protect Jewish musicians and staff in his orchestra. Includes b&w photos. Annotation c. Book News, Inc., Portland, OR (booknews.com)Jay Freeman
Wilhelm Furtwängler, director of the Berlin Philharmonic Orchestra, was one of the most notable artists to remain in Germany during the Nazi era. To his detractors, Furtwängler was a valuable dupe for the Nazis at best and a willful, enthusiastic Nazi sympathizer at worst. Prieberg, who has written extensively on cultural life under the Nazis, has written a convincing if one-sided account of Furtwängler's activities, which leads to a far different conclusion. Prieberg sees his subject as a classic nineteenth-century conservative; while uncomfortable with the values and corrosive effects of modern capitalism, he was also appalled by the brutality and pandering to base emotions implicit in National Socialism. As Prieberg indicates, Furtwängler made clear but limited efforts to protect Jewish musicians, and he apparently resisted blatant efforts to use him as a cheerleader for "Nazi culture." Prieberg's vigorous defense of Furtwängler may balance scales that have been unfairly tipped. However, he fails to confront the deeper dilemma that all decent men of influence must grapple with under a monstrous tyranny; that is, just how much can we reasonably expect or demand of an individual in opposing that tyranny?Book Details
Published
December 31, 1994
Publisher
Boston : Northeastern University Press, 1994.
Pages
394
Format
Hardcover
ISBN
9781555531966