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The Routledge Handbook to Music under German Occupation, 1938-1945


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Table of Contents

Introduction: the foundations of Nazi musical imperialism David Fanning and Erik LeviSection 1 Musical life, resistance and destruction in occupied European capitals 1 Composers as critics in occupied Paris Nigel Simeone2 The Conservatoire in occupied Kiev (19 September 1941 to 6 November 1943)Elena Zinkevych, Translated by Michelle Assay3 Nazi musical imperialism in occupied Poland Katarzyna Naliwajek4 Music and musical life in occupied Athens Alexandros CharkiolakisSection 2 Adaptation and opportunism 5 The Rome-Berlin Axis: musical interactions between Fascist Italy and Nazi Germany in redrawing a 'New Order for European Culture'Erik Levi6 In search of a musical identity in the Nazi-occupied Netherlands Dario van Gammeren7 Symphonic music in occupied Belgium (1940-1944): the role of 'German-friendly' music societies Eric Derom8 Music, culture and the Church in the German-occupied USSR: the Smolensk area and other provinces Svetlana ZverevaSection 3 Appropriations and reputations 9 Celebrating a Mozart anniversary in occupied Belgium: the Mozart Herdenking in Vlaanderen (1942)Marie-Helene Benoit-Otis and Cecile Quesney10 The ambiguous reception of Antonin Dvorak's music during the Reichsprotektorat Bohmen und Mahren (The Protectorate of Bohemia and Moravia), 1939-1945 Katerina Nova, Translated by Stepan Kana11 Celebrating the Nordic tone - fighting for national legacy: the Grieg Centenary, 1943 Michael Custodis & Arnulf MattesSection 4 Between two evils 12 The song collector, the year of terrors and the catastrophe that followed: a life in occupied Latvia Kevin C. Karnes13 The music of Ciurlionis in the context of resistance and Lithuanian national identity during the Nazi occupation (1941-1944) Vytaute Markeliuniene14 Power through music: strategies of the German occupation authorities in Estonia Kristel Pappel and Anu KolarSection 5 The limits of tolerance 15 Getting away with Cultural Bolshevism: the first European performance of Porgy and Bess in Copenhagen, 1943 Michael Fjeldsoe16 Music criticism in the Swedish Nazi daily press: the case of Dagsposten Henrik RosengrenSection 6 Damaged careers 17 (Re)visiting the (Jewish) archive of Gideon Klein - Terezin, 1941-1944 David Fligg18 Eugeniusz Morawski: life under the Nazi occupation of Warsaw Oskar LapetaSection 7 Symphonies of war and resistance 19 Religious patriotism and grotesque ridicule: responses to Nazi oppression in Pavel Haas's unfinished war-time Symphony Martin Curda20 Paul von Klenau's Ninth Symphony: a case study Niels Krabbe21 Shostakovich's 'Leningrad' Symphony: music of endurance David Fanning and Michelle AssaySection 8 Complex and uneasy legacies 22 Listening in the Grey Zone Michael Beckerman23 The marketing of backstories: approaches to the legacies of music composed in fraught circumstances Mirjam Frank24 Nazism, music and Tyrolean identity Kurt Drexel25 Bartok against the Nazis: the Italian premieres of Bluebeard's Castle (1938) and The Miraculous Mandarin (1942) Nicolo Palazzetti26 Contemporary music and cultural politics in Switzerland during World War II: between neutrality and nationalismSimeon Thompson

About the Author

David Fanning is Professor of Music at the University of Manchester and author and editor of books, articles and critical editions on Nielsen, Shostakovich, Weinberg, Expressionism and the 20th-century symphonic tradition. An experienced chamber music pianist and accompanist, he is also active as a critic for Gramophone and the Daily Telegraph. Erik Levi is Visiting Professor of Music at Royal Holloway, University of London. He is author and editor of several books relating to music during the Weimar Republic and the Third Reich and is active as a broadcaster and critic for BBC Music Magazine. Amongst his recent publications are Music and Displacement, co-edited with Florian Scheding (2010); Mozart and the Nazis (2010); The Impact of Nazism on Twentieth-Century Music (2014); and Hanns Eisler and England (2014).


"eloquently written and always annotated with exactitude"..."This is a timely tour-de-force that takes the evaluation of music under totalitarianism to a new level." Jessica Duchen, BBC Music Magazine

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