Forbidden Music: The Jewish Composers Banned by the Nazis
| Author | : | |
| Rating | : | 4.52 (645 Votes) |
| Asin | : | 030020535X |
| Format Type | : | paperback |
| Number of Pages | : | 376 Pages |
| Publish Date | : | 2013-06-13 |
| Language | : | English |
DESCRIPTION:
Michael Haas is director of research at the Jewish Music Institute’s Centre for Suppressed Music, based at Royal Holloway, University of London. He lives in London.
"Very valuable to music and/or history lovers" according to Robert Hayes. I'm always on the lookout for music I haven't discovered yet, and FORBIDDEN MUSIC certainly provided that in spades. I don't really have an affinity for Jewish composers or music in particular, but I am drawn to the rare. The book is mostly about the composers that were directly affected by the Nazi regime, although there is a few preceding chapters of historical context which explains how the situation came about. Anti-Semitism in Germany (and Europe, in general) has always existed in some form or another, but the perfect storm of W. "A Text About Forbidden Composers" according to L. Levy. Mr. Haas's writing style is to quote from contemporary people alive when the composers covered lived. It's quite a bit more like a text than I wanted or expected. However, once I realized what the book actually is, and no longer expected a different style, It was quite well written.. Let Us Remember and Never Forget Michael Haas has written a brilliant and moving book about the composers who were affected - some murdered, others exiled - by the Shoah. There's no book like this, written by someone who knows the music deeply and cares completely about making it resound. A brilliant tour de force! Thank you, Michael.
This groundbreaking book looks at the Jewish composers and musicians banned by the Third Reich and the consequences for music throughout the rest of the twentieth century. Because Jewish musicians and composers were, by 1933, the principal conveyors of Germany’s historic traditions and the ideals of German culture, the isolation, exile and persecution of Jewish musicians by the Nazis became an act of musical self-mutilation.Michael Haas looks at the actual contribution of Jewish composers in Germany and Austria before 1
From Booklist *Starred Review* German nationalism and liberal Jews’ assimilation into German society were parallel nineteenth-century developments that met immediate opposition, nationalism from without, assimilation from within as Germany amalgamated. --Ray Olson . Haas never lets us lose sight of those encompassing historical movements as he intertwines the stories of music and politics in Germany while expanding upon the main currents and countercurrents of Germany’s music, which (nonobservant) Jews—Mahler, Schoenberg, Schreker (the Na