The post discusses the complex nature of music composed in Nazi concentration camps, highlighting the contradictions and misunderstandings surrounding it. While some view it as an act of defiance, the author argues it often served more as propaganda or distraction from harsh realities. It emphasizes the multifaceted relationships between perpetrators, victims, and the music created during this dark period.
A further update on the work of the Exilarte Center.
Schoenberg is 150 years old and it would be strange if this celebration were not marked for the composer who more than others represented “Forbidden Music”.
The content discusses Horowitz’s book on Mahler’s New York experience, filling gaps in Mahler biography, contrasting Vienna and New York’s musical scenes, and addressing antisemitism. Horowitz’s unique narrative style and revealing insights make it an important and engaging read, shedding light on Mahler’s life and music career.
I could not even begin to count the books I own and have read on fin de siècle Vienna, the Habsburgs, the Austro-Hungarian Dual Monarchy, biographies of prominent individuals who lived, or were… Continue reading
The post reflects on the significant changes in music composition and consumption during the twentieth century, questioning the concept of progress and exploring the impact of societal and cultural shifts on musical expression. It delves into the complexities of dissonance, the challenges of conveying emotion through music, and the evolution of musical language in the face of societal upheaval.
The author reflects on his experiences writing about Jewish composers and music that were banned or otherwise impacted by the Nazis. He has published various academic works and translations on this topic over his ten year career. His new book, Music of Exile, stems from his work at Exilarte Centre, a cultural institution he co-founded. The piece discusses the lesser-known narratives of exile music, underscoring its historical significance and cultural nuances.
The Kirchklang Festival in Salzburg asked me to speak on Cultural Transfer, including Samuel Barber in Austria and Austrians in California.
I hope this is a book that takes the reader further down the road of understanding what it means to view music as a cultural good in need of restitution: a return to audiences of stolen composers and a return to composers of stolen audiences.
