Music in Nazi Germany

The nineteenth century introduced a change in economic circumstances in Nazi Germany. The rise of industrialization and urban expansion introduced a new marketplace for music. Individuals were able to participate within the music culture as small social clubs and orchestras were easily able to purchase sheet music and instruments. Out of this developed an extensive network of music among German citizens. The spawned more localized concert halls and orchestras, greatly increasing the circulation of both German and Jewish compositions . Yet as the music culture grew the Nazi regime found it necessary to step in and control these cultural music products. Joseph Goebbels, the Reich Minister of Propaganda, famously decreed the radio to be “the most influential and important intermediary between a spiritual movement and the nation, between the idea and the people” . He put much effort into the proliferation of radio technologies amongst German citizens regardless of socioeconomic status, introducing a low-cost people's receiver. As the music industry in Nazi Germany grew, institutions within the regime devoted their efforts to promote Aryan ideologies through heavy censorship and cultural control. From blacklisted Jewish compositions to banned concert hall performances Nazi intervention was obvious. The regime issued strict authoritative control of these mediums in order to promote nationalism through cultural unity.

By controlling the mediums of communication in its society the Reich’s Chamber of Culture was able to dictate public opinion (in regards to musical culture) and reaffirm their hegemonic beliefs. Through this authoritative control they were able to silence the works of Jewish musicians effectively eliminating their voice in rational-critical discourse while promoting the Aryan works consistent with Nazi ideology . This massive censorship skewed the public image of German culture, favoring the third Reich much to Goebbels’s satisfaction.

Concert Halls

In 1928 competing national-socialist entities separately claimed control of all musicians and publications of musical material, each hoping to eventually become the administration of music culture . Alfred Rosenberg played a key role in these early institutions, spawning many sub-organizations such as The Militant League for German Culture (Kampfbund für deutsche Kultur). This important organization created departments for music, cinema, visual arts, and radio, and effectively served as the forerunner of the Joseph Goebbels Ministry. In hopes of strengthening the ‘suppressed’ Aryan artists and eliminating ‘degenerate’ artists (Jewish & Jazz artists) Rosenberg’s institutions published many inflammatory brochures warning citizens of non-German nationalist music (Reinhard Doerries, “Alfred Rosenberg’s Der Mythus des 20. Jahrhunderts: A Pattern of Cultural Totalitarianism” (M.F.A. thesis, Ohio University, 1960), pp. 57-60.). His institution funded Aryan musicians and even went as far as to disrupt concerts, threaten Jewish performers and intimidate audiences (http://holocaustmusic.ort.org/politics-and-propaganda/third-reich/rosenberg-alfred/). These practices were the beginning of the over-arching political intervention of concert halls and orchestras of the 19th century.

In March 1933 Hitler appointed Joseph Goebbels as the Minister of Public Enlightenment and Propaganda The institution effectively replaced Rosenberg’s, issuing much stricter control over all cultural products of the era including newspaper, film and radio (Levi “Music of the third reich”). Within the music realm Goebbels initially focused on the rapidly expanding concert hall industry. With the increase of both music publications and instrument production, a public sphere of music emerged (Botstein 49). German citizens were able to exchange music unlike ever before, increasing circulation of all genres of music. Since the performance of Jewish or gypsy music was prohibited by the state, this expanding circulation of sheet music was problematic. In an effort to regain control of this industry, and eliminate degenerate music, Goebbels soon instituted a harsh purge of Jewish musicians.

On September 22, 1933 Goebbels established the Reichskulturkammer, the Reich’s Chamber of Culture. This organization required all German artists to register for membership, those rejected resulted with a profession ban. The chamber of culture specifically promoted art produced by Aryans (such as film, fine art and literature) whose views were consistent with Nazi ideologies (Steinweis). The organization blacklisted many Jewish musicians and composers (who opposed Nazi ideology) from performing live in concert halls. The Chamber of Culture famously banned Jewish composer Bruno Walter from performing in public in 1933. Walter’s performance in Leipzig was cancelled due to “threats of violence.” Four days later Walter was officially blacklisted when Richard Strauss replaced him at the Berlin Philharmonic Hall. (http://holocaustmusic.ort.org/politics-and-propaganda/third-reich/walter-bruno/). The chamber of commerce eventually purged all orchestras of Jewish members, from local chorals to professional symphonies including the Berlin Philharmonic. This was made possible in April 1933 with the passage of the Law for the Restoration of the Professional Civil. This law essentially dismissed hundreds of Jewish musicians and composers from German orchestras and concert halls (Burleigh, The Third Reich: A New History, p. 298; Koonz, The Nazi Conscience, p. 209-210.). More than any other law, this one pushed Jewish musicians out of German culture at large.

This produced a music industry over-run with Aryan influence and focus on classical German composers. Goebbels believed that music could create a public emotional and spiritual experience competitive with religion. Concert halls with their darkened halls and formal setting expose the audience to an experience similar to church. The music of Bruckner and Wagner were the centerpiece of the new Aryan spirituality, aiming to attain the same “impact generated by traditional Christian religious ecstasy and devotion” (Botsein 492). Goebbels strongly believed music could bring about national pride through cultural identification. Striving to increase the reach of his musical unity Goebbels shifted his sights towards radio.