The Routledge Handbook to Music under German Occupation, 1938-1945: Propaganda, Myth and Reality

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Introduction: the foundations of Nazi musical imperialism
David Fanning and Erik Levi
Section 1 Musical life, resistance and destruction in occupied European capitals
1 Composers as critics in occupied Paris
Nigel Simeone
2 The Conservatoire in occupied Kiev (19 September 1941 to 6 November 1943)
Elena Zinkevych, Translated by Michelle Assay
3 Nazi musical imperialism in occupied Poland
Katarzyna Naliwajek
4 Music and musical life in occupied Athens
Alexandros Charkiolakis
Section 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 Levi
6 In search of a musical identity in the Nazi-occupied Netherlands
Dario van Gammeren
7 Symphonic music in occupied Belgium (1940-1944): the role of 'German-friendly' music societies
Eric Derom
8 Music, culture and the Church in the German-occupied USSR: the Smolensk area and other provinces
Svetlana Zvereva
Section 3 Appropriations and reputations
9 Celebrating a Mozart anniversary in occupied Belgium: the Mozart Herdenking in Vlaanderen (1942)
Marie-Helene Benoit-Otis and Cecile Quesney
10 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 Kana
11 Celebrating the Nordic tone - fighting for national legacy: the Grieg Centenary, 1943
Michael Custodis & Arnulf Mattes
Section 4 Between two evils
12 The song collector, the year of terrors and the catastrophe that followed: a life in occupied Latvia
Kevin C. Karnes
13 The music of Ciurlionis in the context of resistance and Lithuanian national identity during the Nazi occupation (1941-1944)
Vytaute Markeliuniene
14 Power through music: strategies of the German occupation authorities in Estonia
Kristel Pappel and Anu Kolar
Section 5 The limits of tolerance
15 Getting away with Cultural Bolshevism: the first European performance of Porgy and Bess in Copenhagen, 1943
Michael Fjeldsoe
16 Music criticism in the Swedish Nazi daily press: the case of Dagsposten
Henrik Rosengren
Section 6 Damaged careers
17 (Re)visiting the (Jewish) archive of Gideon Klein - Terezin, 1941-1944
David Fligg
18 Eugeniusz Morawski: life under the Nazi occupation of Warsaw
Oskar Lapeta
Section 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 Curda
20 Paul von Klenau's Ninth Symphony: a case study
Niels Krabbe
21 Shostakovich's 'Leningrad' Symphony: music of endurance
David Fanning and Michelle Assay
Section 8 Complex and uneasy legacies
22 Listening in the Grey Zone
Michael Beckerman
23 The marketing of backstories: approaches to the legacies of music composed in fraught circumstances
Mirjam Frank
24 Nazism, music and Tyrolean identity
Kurt Drexel
25 Bartok against the Nazis: the Italian premieres of Bluebeard's Castle (1938) and The Miraculous Mandarin (1942)
Nicolo Palazzetti
26 Contemporary music and cultural politics in Switzerland during World War II: between neutrality and nationalism
Simeon Thompson

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Following their entry into Austria and the Sudetenland in the late 1930s, the Germans attempted to impose a policy of cultural imperialism on the countries they went on to occupy during World War II. Almost all music institutions in the occupied lands came under direct German control or were subject to severe scrutiny and censorship, the prime objective being to change the musical fabric of these nations and force them to submit to the strictures of Nazi ideology.

This pioneering collection of essays is the first in the English language to look in more detail at the musical consequences of German occupation during a dark period in European history. It embraces a wide range of issues, presenting case studies involving musical activity in a number of occupied European cities, as well as in countries that were part of the Axis or had established close diplomatic relations with Germany. The wartime careers and creative outputs of individual musicians who were faced with the dilemma of either complying with or resisting the impositions of the occupiers are explored. In addition, there is some reflection on the post-war implications of German occupation for the musical environment in Europe.

Music under German Occupation is written for all music-lovers, students, professionals and academics who have particular interests in 20th-century music and/or the vicissitudes of European cultural life during World War II.

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