Not long ago, with reference to Jonathan Petropoulos’s recent book Artists under Hitler: Collaboration and Survival in Nazi Germany, we looked at the lives of a few painters, writers, filmmakers, and composers who, faced with the prospect of working under the Nazi regime, chose either to flee the country or to stay and pursue various degrees of collaboration – some of them accepting Nazi oversight with shame and reluctance, others becoming ardent followers of the Führer.
Our coverage of these Nazi-era artists, of course, wasn’t comprehensive. Another new book, The Political Orchestra by Austrian scholar Fritz Trümpi, provides a highly illuminating pendant to Petropoulos’s. Trümpi’s subject, as stated in his subtitle, is “The Vienna and Berlin Philharmonics During the Third Reich.” As Terry Teachout put it in a review of Trümpi’s book for the June issue of Commentary, “The story of European classical music under the Third Reich is one of the most squalid chapters in the annals of Western culture, a chronicle of collective complaisance that all but beggars belief.” Teachout makes a crucial point:
Without exception, all of the well-known musicians who left Germany and Austria in protest when Hitler came to power in 1933 were either Jewish or, like the violinist Adolf Busch, Rudolf Serkin’s father-in-law, had close family ties to Jews. Moreover, most of the small number of non-Jewish musicians who emigrated later on, such as Paul Hindemith and Lotte Lehmann, are now known to have done so not out of principle but because they were unable to make satisfactory accommodations with the Nazis. Everyone else—including Karl Böhm, Wilhelm Furtwängler, Walter Gieseking, Herbert von Karajan, and Richard Strauss—stayed behind and served the Reich.
Both orchestras were equally prepared to compromise with the Nazis, firing Jewish musicians and removing compositions by Jews from their repertoires. Nor did either orchestra undergo any major postwar denazification: Helmut Wobisch, executive director of the Vienna Philharmonic from 1953 to 1968, was known to have been in both the SS and Gestapo; Herbert von Karajan – who, as musical director of the Berlin Philharmonic from 1956 to 1989, was one of the preeminent names in classical during the second half of the twentieth centuries – had also had Nazi ties. At least in the early decades after the war, neither institution was terribly open about its tarnished history, but the folks in Vienna were even worse than the ones in Berlin, keeping a lid on their archives until Trümpi finally managed to pry it off in 2008; both orchestras now have substantial sections on their websites fessing up to their wartime collaborationist zeal.
When Hitler came along, as Teachout notes, the Berlin and Vienna ensembles were considered the two greatest symphony orchestras on the planet; they still are. Each had its own distinct “sound.” But they shared, in Teachout’s words, “a nationalistic ethos, a belief in the superiority of Austro-German musical culture that approached triumphalism.” This was a conviction they shared with Hitler himself. One consequence of this attitude was that even before Hitler came to power, both orchestras weren’t eager to employ Jews. In 1933, Berlin had four Jewish players; in 1938, when the Nazis marched into Austria, Vienna had 11, all hired before 1920 (seven of them ended up directly or indirectly dead at the hands of the Nazis). Despite the institutional anti-Semitism, the famous Jewish conductors Otto Klemperer and Bruno Walter were able to work in Vienna for some time after the Anschluss.
We’ve spent some time on this website revisiting Leonard Bernstein’s enthusiasm for the Black Panthers and other radical-left phenomena. He figures significantly in Trümpi’s account, too. Despite the known Nazi histories of both the Berlin and Vienna philharmonics, Bernstein not only chose not to boycott them (a position in which he was far from alone) but, as Teachout puts it, “went so far as to affect a flippant attitude toward the morally equivocal conduct of the Austro-German artists whom he encountered in Europe after the war.” Writing to his wife from Vienna, Bernstein told her he’d befriended von Karajan, “whom you would (and will) adore. My first Nazi.” Writing to his parents, he acknowledged: “you never know if the public that is screaming bravo for you might contain someone who 25 years ago might have shot me dead. But it’s better to forgive, and if possible, forget.”
