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Internationalism, Regionalism, and National Culture: Music Control in Bavaria, 1945–1948

Published online by Cambridge University Press:  16 December 2008

David Monod
Affiliation:
Wilfrid Laurier University

Extract

For many Germans in the immediate postwar period, all that remained of their country was its art. Subjugation, destruction, the pain of unfathomable guilt: these had ripped away at the national psyche, severing nation from nationalism, person from people, the present from the past. “We are,” wrote Wolfgang Borchert in 1946, “a generation without a homecoming, because we have nothing to which we can return.” Nation: what would that word now mean? An occupied state no longer possessing statehood, a conquered people starved even of the moral strength that might come from resisting. Even if the institutions of national governance could be recreated, they could have no historical legitimacy; if Bonn were not to be Weimar, it would equally not be the kaisers' or the Führer's Berlin. For many, refuge from the shaming of the nation lay, as Theodor Heuss reflected, in a “decentralizing of the emotions,” in a “flight” to those fields “where the violence of the great political world shake-up is not felt so directly.” This drove literate Germans back to Goethe and music lovers to the endlessly-performed postwar symphonic cycles of Brahms and Beethoven. And yet, escaping into what Jost Hermand aptly termed “the protective wall of self-absorption” did not completely preclude connection to the national community of Germans. In fact, a powerful communion with the whole might still come through the personal enjoyment of a shared art or culture. In art might reside the essence of the national community, a stateless collectivity, without territories perhaps, but with borders and guardians nonetheless

Type
Articles
Copyright
Copyright © Conference Group for Central European History of the American Historical Association 2000

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References

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23. A similar policy is emphasized by Thomas Steiert in an excellent article on music control in Stuttgart, : “Zur Musik und Theaterpolitik in Stuttgart während der amerikanischen Besatzungszeit,” in Kulturpolitik im besetzten Deutschland, 1945–1949, ed. Gabriele, Clemens (Stuttgart, 1994), 5568.Google Scholar

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27. Evarts Private Archive, Evarts, J., “Diary of second European tour 1929.”Google Scholar A similar pattern of development is described in James Tent's definitive study of U.S. education policy Mission on the Rhine: Reeducation and Denazification in American-Occupied Germany (Chicago, 1982)Google Scholar, esp. chap. 4. Bausch sees a similar struggle against pietistic Protestantism in Württemberg-Baden; Die Kultur-politik der US, 129–35.

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31. Author's interview with Edward Kilenyi, 8 June 1996; in his Memoirs (New York, 1997)Google Scholar and in an interview with the author, 16 March 1997, Solti maintained that he was only invited to perform in Munich after he had successfully conducted in Stuttgart on 26 April 1946. Bauckner, however, had already engaged him, “at the request of the military government,” to perform in Fidelio by late March: A. Bauckner to Staatsministerium, 25 March 1946, BHstA, MK 50204; Evarts, J., Weekly Report, 29 June 1946Google Scholar; Scharnagl, K. to Staatsminister, 15 February 1947Google Scholar and E. Jochum to A. Hundhammer, 23 July 1947, BHstA, MK 50187.

32. Evarts, J., Special Report — Music Control in Bavaria — June 1945 to July 1946, 27 June 1946Google Scholar, OMGUS, Educational and Cultural Relations Division, Theater and Music Branch, Box 241.

33. Evarts, J., “Diary: September 1946,” 6.Google Scholar

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38. Appendix 7 to Combined History of the Theatre Control Section and the Music Control Section, 28 April 1947, OMGB, Educational and Cultural Relations Division, Cultural Relations Branch, Box 20; Minutes of General Information Control Meeting, 1 September 1947, OMGB, Intelligence Division, ICD Intelligence Records, Box 114/52A,

39. H. Rosbaud to K. Scharnagl, 16 February 1947, Washington State University Archive, Hans Rosbaud Papers, Box 6 file 89; and John Evarts to H. Rosbaud, 16 February 1947, Box 3 file 40.

40. Süddeutsche Zeitung, 26 June 1948 and 29 June 1948; memo regarding the contract with Hans Rosbaud, 26 February 1948, cited in Krauss, Marita, Nachkriegskultur in München: Münchner stüdtische Kulturpolitik, 1945–54 (Munich, 1985), 60Google Scholar; Evans, , Rosbaud, 44.Google Scholar

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47. Süddeutsche Zeitung, 16 October 1948.

48. R. Hartmann to L. Meinzolt, 15 October and 29 October 1951, BHstA, MK50055; F. Hink to Münchner Philharmoniker, 6 April 1949, Stadtarchiv München, 1563; Süddeutsche Zeitung, 16 October 1948.

49. Sabine Henze-Döhring finds similar irony in U.S. policy regarding the Bayreuth Festspiel. Unable, in the face of heavy local resistence, to remake the Wagner Festival into an event featuring international classics and experimental works, the section watched the Wagner family restored to its traditional authority. But as Henze-Döhring notes, the festival became an international event nonetheless. See “Kulturelle Zentren in der amerikanischen Besatzungszone: Der Fall Bayreuth,” in Kulturpolitik im besetzen Deutschland, ed. Clemens, , 3954.Google Scholar

50. Author's interview with Carlos Moseley, 18 March 1996.

51. On the centrality of America to German national identity: Andrei Markovits, S., “Anti-Americanism and the Struggle for a West German Identity,” in The Federal Republic of Germany at Forty, ed. Peter, Merkl (New York, 1989), 3554Google Scholar; Dan Diner has observed that by making the Americans into oppressors and themselves into victims, many Germans were able to transfer the guilt over Nazism to a foreign power: America in the Eyes of the Germans (Princeton, 1996), 111 and 119Google Scholar. Kaspar Maase valuably deepens these views by showing America to have been the battleground over which different groups within German society attempted to legitimize their lifestyles, politics, and their views of the nation and in so doing constitute themselves as social collectivities; “Amerikanisierung von unten: Demonstrative Vulgarität und kulturelle Hegemonie in der Bundesrepublik der 50er Jahre,” in Amerikanisierung: Traum und Alptraum im Deutschland des 20. Jahrhunderts, ed. Alf, Lüdtke, Inge, Marssolek and Adelheid, von Saldern (Stuttgart, 1996), 291314.Google Scholar

52. C. Moseley to Helen 30 March 1948 (copy in author's possession).