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Yes, the medieval texts that provided the words of this large-scale secular cantata had moments of bawdiness that caused consternation at the work’s Frankfurt premiere in June 1937 – degeneracy of any sort was frowned upon – but it soon went on to enjoy massive popularity within the Third Reich, gaining an almost symbolic status. The Music: ‘The kind of clear, stormy, and yet always disciplined music that our time requires,’ was how the Nazi newspaper, the Völkischer Beobachter, described Carl Orff’s Carmina Burana. Other countries looked on nervously but failed to act. That same year saw membership of the Hitler Youth movement made compulsory for boys and, as Goebbels ramped up the propaganda machine, the Berlin Summer Olympics hijacked as a massive global PR stunt. Less than two years after Hitler had been proclaimed Führer, his forces had re-entered the Rhineland, in violation of the post-World War I treaties. The Times: By the end of 1936, the self-confidence of the Nazi regime in Germany had reached an ominous level. Read our reviews of the latest Berg recordings here 1928-37 No small wonder the Nazis later rejected Berg’s great masterpiece as ‘decadent’. Yet much of it is expressionist in its swirling emotions and affectionate homage to music’s bygone eras, with fugues, inventions, passacaglias and variations.īerg’s music always seems to teeter one way and then another – from its Sprechstimme (a vocal style somewhere between speech and song) and violent harmonies to its grotesque Straussian interludes and hints of grimy Brechtian cabaret. Wozzeck is a miracle of operatic story-telling, cinematic in its flow, startling in its use of music to bring compassion to bear on its fatally flawed characters. The Music: At first hearing, Berg’s Wozzeck, based on Georg Büchner’s play Woyzeck and eight years in the composing, is uncompromisingly modern in its 12-tone serialism and raw, unfiltered themes of murder, adultery and brutality. In Berlin, a new breed of expressionist culture rose up, encouraged by relaxed censorship laws: literature, painting, music and theatre all grimaced at a country with an uncertain future. The League of Nations had given Germany a hammering post-World War I and, as a result, the country was starting to witness the rise of extremism – Hitler’s jail sentence for the 1924 Munich Putsch would only keep him in check for five years. The Times: Things were less happy across the Atlantic. Read our reviews of the latest Gershwin recordings here
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Now it was promising to give classical music an injection of energy and invention. The Music: Music in the US would reflect these good times, although jazz had, in fact, done so since before the end of the First World War. This was the era of The Great Gatsby and, seemingly, nothing could derail it. The economy boomed with the advance of technology, Americans sought the good life and people flocked to the big cities – New York, Chicago, San Francisco – in their droves.
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The Times: With the aftermath of World War I behind it and the Wall Street Crash and Great Depression yet to happen for another five years, 1920s America was full of optimism. What was the impact of World War One on music?.