Forbidden Music (59 page)

13.
Krenek 1998, p. 966.

14.
Ibid., pp. 944–6.

15.
Wellesz 1981, p. 236.

16.
‘Hirtenbrief gegen den Rassenwahn’,
Neue Freie Presse
, 23 December 1933.

17.
Ibid.

18.
Korngold 1991, p. 336.

19.
See Chapter 6.

20.
Kampfbund Deutscher Kultur.

21.
The Problem of Tone in Playing the Violin
.

22.
Schenk 2004, pp. 118–19.

23.
In the issues of the
Allgemeine Musik-zeitung
for 4, 11 and 18 December 1931, pp. 834–5, 839–40 and 850.

24.
Hailey 1993, p. 265.

25.
Schenk 2004, p. 101.

26.
Hailey 1993, pp. 286–7.

27.
Hailey 1993, p. 290.

28.
Wulf 1966, p. 414.

29.
Josef Reitler: ‘Franz Schreker’,
Neue Freie Presse
, 23 March 1934.

30.
Hailey 1993, p. 286.

31.
The Annunciation
, 1933–5;
A Dream, a Life
, 1937;
Scenes from the Life of Saint Joan
, 1939–43.

32.
Jung 1980, p. 289, quoting from
Lebens-abschnitte
for the
Bodensee-Zeitschrift
, February 1954.

33.
Hailey 1993, p. 294.

34.
Strength through Joy
.

35.
Reichsüberwachungsamt.

36.
Closel 2010, p. 139.

37.
‘Die Unterredung Lady Oxfords mit Rosenberg’,
Neue Freie Presse
, 10 May 1933.

38.
Hans Heinsheimer:
Modern Music
, Jan–Feb 1933, pp. 116–7.

39.
Viktor Zuckerkandl: ‘Berliner Oper’,
Neue Freie Presse
, 15 February 1932.

40.
H. H. Stuckenschmidt: ‘Paul von Klenau: Michael Kohlhaas, UA in Stuttgart’,
Anbruch
, 1933, nos 9–10, pp. 141–3.

41.
Priberg 1982, Kater 1997, Levi 1996, Closel 2010.

42.
Houston Stewart Chamberlain, letter to Adolf Hitler, 8 October 1923, quoted in Wagner 2000, pp. 68–9.

43.
Wagner 2002.

44.
The Divorced Woman
.

45.
‘Gerichtliches Nachspiel einer Oper-etten Aufführung’,
Neue Freie Presse
, 14 June 1935.

46.
The Chalk Circle
.

47.
Clothes Maketh the Man
.

48.
H. H. Stuckenschmidt: ‘Der anstössige Kreidekreis’,
Anbruch
, 1934, nos 1–2, p. 32.

49.
Beaumont 2000, p. 575.

50.
Viktor Zuckerkandl: ‘Berliner Musik’,
Neue Freie Presse
, 11 May 1934.

51.
The Fan
.

52.
‘Neue Musik im neuen deutschen Reich’,
Neue Freie Presse
, 14 July 1933.

53.
‘Es gibt nur gute und schlechte Kunst! Der Appell Furtwänglers’,
Neue Freie Presse
, 12 April 1933.

54.
Ibid.

55.
Closel 2010, p. 158.

56.
Gerhard Splitt: ‘Die “Säuberung” der Reichsmusikkammer: Vorgeschichte – Planung – Durchführung’, in Weber 1994, p. 49.

57.
Closel 2010, p. 168.

58.
Fetthauer: 2004, pp. 24–5.

59.
Ibid., pp. 60–62.

60.
Ibid., p. 62.

61.
Gesellschaft für musikalische Aufführ-ungs- und mechanische Vervielfälti-gungsrechte.

62.
Staatlich genehmigten Gesellschaft zur Verwertung musikalischer Urheber-rechte.

63.
Kim Kowalke: ‘Dancing with the Devil: Publishing Modern Music in the Third Reich’,
Modernism/Modernity
, vol. 8, no. 1 (2001), p. 20.

64.
Fetthauer 2004, p. 239,

65.
Kowalke 2001, p. 10.

66.
Ibid., p. 25.

67.
Michel and Toeman 1985, pp. 57–8.

68.
Josef Weinberger Ltd: 100 Years Remem-bered
, pp. 30–1.

69.
Carroll 1997, pp. 273–4.

70.
Aster 2007, p. 186.

71.
Rathkolb 1991, pp. 25–7.

72.
Blessinger 1944, pp. 51–2.

73.
Ibid., p. 99.

74.
Lexicon of Jews in Music
.

75.
Stengel and Gerigk 1943, p. 113 (‘Heindl, Toni–Heinemann, Amely’).

76.
Closel 2010, p. 157.

77.
Zentralstelle für jüdische Wirtschaftshilfe.

78.
Reichsvertretung der deutschen Juden.

79.
Weissweiler 1999, p. 414.

80.
Central Vereins Zeitung
, 28 September 1933. German original quoted in Eisler, Bergmeier and Greve 2001, p. 56.

81.
Baumann 2006, pp. 118–29.

82.
Ibid., p. 120.

83.
Closel 2010, p.188.

84.
Eisler, Bergmeier and Greve 2001, p. 58.

85.
Reich Federation of Jewish Cultural Leagues.

86.
Baumann 2006, p. 123.

87.
Closel 2010, p. 191.

88.
Geschlossene Vorstellung
1992 includes programmes from the various organisations throughout Germany.

89.
See Sawabe 2000.

90.
Verein Förderung jüdischer Musik, the Hakoah Orchestra, the Jewish Song
Society, and the Symphony Orchestra of the League of Jewish Austrian Front Soldiers.

91.
My Path to Jewish Music
.

92.
Sawabe 2000, p. 59.

93.
Ibid., p. 77.

94.
Ibid., appendix with concert pro-gram-mes.

Chapter 11. Exile and Worse

1.
12 December 1934 letter from Ludwig Strecker to Erich Korngold, 12 December 1934 (Helen Korngold Family Collection, Portland, Oregon).

2.
13 August 1938 Letter from Otto Witrowsky to Julius Korngold, 13 August 1938 (Korngold Collection, Library of Congress, Washington DC).

3.
London 2000, p. 26.

4.
Ibid., pp. 27–9.

5.
Ibid.

6.
A reference made by Otto Witrowsky in correspondence from 13 August 1938 to Julius Korngold referring to the apparent contradiction of Nazi Brown-Shirts carrying out Bolshevist policies (Korngold Collection, Library of Congress, Washington DC).

7.
‘Refugees in London: The Work of the Jews Temporary Shelter’,
Jewish Chronicle
, 14 April 1933 (quoted in London 2000, p. 31).

8.
London 2000, pp. 30–32.

9.
Endelman 2002, p. 202.

10.
Cameron 1979, p. 52.

11.
Letter from Neville Chamberlain to his sister Hilda, 30 July 1939, quoted in London 2000, p. 106.

12.
London 2000, pp. 33–4.

13.
Ibid., pp. 36–7.

14.
Ibid., p. 27.

15.
Richard Norton-Taylor: ‘Months before war, Rothermere said Hitler's work was superhuman’,
The Guardian
(1 April 2005); Neil Tweedie and Peter Day: ‘When Rothermere urged Hitler to invade Romania’,
The Daily Telegraph
(1 March 2005).

16.
Letter from Alfred Einstein to Hans Gál, 21 April 1940 (Bayerische Staatsbibliothek, ANA 414).

17.
London 2000, p. 86.

18.
Ibid., p. 87.

19.
Ibid., p. 89.

20.
Ibid., p. 106.

21.
Ibid., p. 107.

22.
Ibid., p. 144: the memorandum ‘Emi-gration of refugees from Czechoslov-akia’ by Sir Neill Malcolm, 10–12 October 1939.

23.
Ibid., pp. 143–5.

24.
Tempo
(Boosey & Hawkes), New Series, No. 173, Soviet Issue (June 1990),
Herschkowitz Encountered
, pp. 39–43.

25.
Letter from Georg Szell to Hans Gál, 25 March 1938 (Bayerische Staatsbiblio-thek, ANA 414).

26.
Letter from Ernst Toch to Hans Gál, 15 June 1938 (Bayerische Staatsbibliothek, ANA 414).

27.
Raab-Hansen 1995, pp. 100–17.

28.
William Malloch:
I Remember Mahler
, broadcast (1964). Copy at Inter-nationale Gustav Mahler Gesellschaft, Vienna.

29.
I am grateful to Erik Levi for providing this information which will appear in a chapter on Eisler reception in England to be published in
Eisler Studien
.

30.
Letter from Vaughan Williams to Ferdinand Rauter, 29 September 1942 (University Music Archive, Vienna).

31.
Sunday Times
, 10 September 1935.

32.
Kowalke 2001, p. 26.

33.
Taylor 1991, p. 209.

34.
Berliner Zeitung
, 14 January 2005.

35.
London 2000, p. 49.

36.
François Lafitte:
The Internment of Aliens
(London: Libris, 1988), p. xiv.

37.
Gál 2003.

38.
Hans Gál in an interview with Bernard Pfau, Südwestfunk, 4 August 1986 (Gál Family Collection, York).

39.
Hans Gál in an interview with Martin Anderson,
Journal of the British Music Society
, vol. 9 (1987), pp. 33–44.

40.
Erich Itor Kahn in the Introduction to his
Actus Tragicus
for 10 Instruments, 1946–7.

41.
Amaury du Closel:
Les voix étouffées du Troisième Reich
(Arles: Actes Sud, 2005), especially ‘Exile en France’ pp. 295–337.

42.
Ibid.

43.
Closel 2010, p. 367.

44.
Heilbut 1983, p. 84.

45.
The First publication of
Composing for the Films
omits the name of Adorno, who preferred not to be associated with Hanns Eisler during Eisler's
incriminating hearings at the House of Un-American Activities in 1947.

46.
Heilbut 1983, p. 80.

47.
Ibid., p. 73.

48.
Ernst Krenek: ‘Amerikas Einfluss auf eingewanderte Komponisten’,
Musica XIII
(1959), pp. 757–61.

49.
Jüdisches Museum Wien, 2005; Christopher Hailey: ‘Émigrés in the Classroom’ from Exhibition Catalogue:
Endstation Schein-Heiligenstadt, Eric Zeisls Flucht nach Hollywood
, pp. 86–7.

50.
Letter from Georg Szell to Hans Gál, 13 July 1946 (Bayerische Staatsbibliothek ANA 414).

51.
Letter from Alfred Einstein to Hans Gál, 9 February 1940 (Bayerische Staatsbibliothek ANA 414).

52.
Letter from Hans Korngold to his family in California, 26 March 1939 (Korngold Collection, Library of Congress, Washington DC).

53.
Ibid.

54.
Letter from Alfred Einstein to Hans Gál, 9 January 1939 (Bayerische Staats-bibliothek ANA 414).

55.
Eisler and Adorno 1996, pp. 28–30.

56.
Dümling 2011, pp. 188–91

57.
Osnabrücker Jahrbuch Frieden und Wissenschaft VIII/2001; Konrad Richter: ‘Viktor Ullmann, die Wiederent-deckung eines Verschollenen’, p. 121.

58.
Betrothal in a Dream
.

59.
The Charlatan
.

60.
Karas 1985, pp. 126–7.

61.
Agnes Kory: ‘Remembering Seven Murdered Hungarian Composers’:
http://orelfoundation.org

Chapter 12. Restitution

1.
Detailed information regarding the Adler library is contained in documentation held at the Austrian National Library in its Wellesz Collection (Wellesz Fond). It includes correspondence between von Ficker, Edward Dent and Wellesz along with various sworn statements. The above information can be found in file no. 1240.

2.
Boris von Haken: ‘Spalier am Mörder-graben’,
Die Zeit
, 20 December 2009.

3.
Thacker 2007, pp. 10–11.

4.
Theodor Adorno:
Vermischte Schriften I/II, What National Socialism Has Done to the Arts
, Berlin: Suhrkamp, 1986 p. 413

5.
Thacker 2007, p. 28.

6.
Ibid., p.24.

7.
Kulturbund zur demokratischen Er--neuerung Deutschlands.

8.
Ibid., pp. 34–5.

9.
Ibid., p. 25.

10.
Priberg 2004, p. 7195 (interview with Heinz Tiessen, 16 November 1963).

11.
Ibid., p. 48.

12.
Ibid., p. 63.

13.
Morgenstern 1999, pp. 48–9.

14.
Klenau's daughter was the wife of Soma Morgenstern.

15.
H. H. Stuckenschmidt: ‘Die Urauf-führung von Wirtin von Pinsk in Dresden’,
Neue Freie Presse
, 19 February 1938.

16.
Letter from Hartmann to Wellesz, 2 January 1948 (Austrian National Library, Wellesz Fond no. 2208).

17.
Gottbegnadeten-Liste.

18.
Thacker 2007, pp. 77–8.

19.
Ibid., pp. 78–9.

20.
Steinacher 2011, p. 95.

21.
Ibid., pp. 143–9.

22.
Stonor Saunders 1999, p. 224.

23.
Ibid., p. 221.

24.
Ibid., p. 223.

25.
Hanns Eisler: from his unpublished essay ‘Comments on the Crisis of Culture in Monopoly Capitalism and to the duties of the Germany Academy of Arts’, 1950, printed in Eisler 1982, vol. 3, p. 79.

26.
Wilford 2008, pp. 108–9.

27.
‘Konrad Boehmer über das Chaos’,
Süddeutschen Zeitung
, 29/30 November 2008.

28.
Theodor Adorno, vol 18, Musikalische Schriften V,
Zur gesellschaftlichen Lage der Musik
, Berlin: Suhrkamp, 1986, p. 730.

29.
Actually
Die Kathrin
was performed at Vienna's Volksoper as the bombed-out Staatsoper's temporary auditorium during reconstruction was the Theater an der Wien, considered too small for Korngold's opera.

30.
Pierre Boulez, interview,
Wall Street Journal
, 27 January 2010.

31.
Berthold Goldschmidt, during one of many conversations with the author between 1990 and 1996.