Great Conductors of the Third Reich: Art in the Service of Evil
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Actor: Clemens Kraus, Herbert Von Karajan, Karl Böhm, Leo Blech, Wilhelm FurtwänglerBrand: Bel Canto Society
DVD: Region Code 0
Audio: German (Unknown); German (Original Language)
Format: Black & White, Classical, NTSC, Subtitled
Picture Format: 1.33:1
Running Time: 53 minutes
DVD Release Date: 2005-03-08
Audience Rating: NR (Not Rated)
Model: D052
Studio: Bel Canto Society
DVD Reviews of Great Conductors of the Third Reich: Art in the Service of Evil
DVD Review: A Gratuitous Slander of Furtwaengler!
Summary: 1 Stars
Although I have not seen this video as such, I am acquainted with its contents from other sources. I will confine myself to commenting on the notes of Spotts, specifically the most outrageous attack I have ever seen in print on Wilhelm Furtwaengler.
I suppose controversy over the wisdom of Furtwaengler's decision to stay in Nazi Germany (encouraged by Jewish artists such as Arnold Schoenberg and Max Reinhardt) will always continue. But Spotts, like his predecessor Ira Hirschman, goes far beyond this, stating that Furtwaengler was an enthusiastic collaborator with Goebbels, profitted from the regime, and was virulently anti Semitic, objecting to the mistreatment of Jews only when it would harm Germany's image and cultural needs.
The facts speak otherwise. If Furtwaengler was an enthusiastic collaborator, why did he resign from all his posts after protesting the ousting of Jewish musicians and the ban on Hindemith? Yehudi Menuhin pointed out that in resigning, Furtwaengler gave up all benefits and pensions, and indeed was penniless after the war. He never resumed his posts during the regime, only remaining with the Berlin Philharmonic as a free-lance conductor. Any concessions that he made, such as conducting at the "Winterhilfe" concerts (a series of charity events) were done to wring from Goebbels the assurance that the Berlin Philharmonic would continue to be subsidized and that THEY WOULD BE EXEMPT FROM THE ARYANIZATION DECREE, ALLOWING THE JEWISH MUSICIANS TO CONTINUE AS BERLIN PHILHARMONIC MEMBERS. When the Jewish members finally did emigrate, Furtwaengler expressed his regret and continued to write to them. And of course, if Furtwaengler was such a loyal supporter of the Nazis, why did Himmler finally order the Gestapo to shadow the conductor, causing him to seek asylum in Switzerland to avoid assassination? Remember that Himmler wrote in Furtwaengler's dossier, "There is no Jew, filthy as he may be, for whom Furtwaengler does not stretch out a helping hand."
When Furtwaengler wrote his letter to Goebbels defending Bruno Walter and Otto Klemperer from dismissal, he stated that as an artist, his job was not to disrupt people, but to unite. He saw no difference between Jewish and non-Jewish art, only between good and bad art. In other words, the distinctions between religions and races meant nothing to him, only quality counted! Of course, he could not attack this from the standpoint of humanity, as this would hardly cause an anti Semitie like Goebbels to lend his ear to the plea.
The case of Arnold Schoenberg is very telling here. Furtwaengler was reported to have only intervened for him so that he would not be made into a martyr by the Nazis. As this was reported by the Nazi-controlled press, the veracity of this statement is very much in doubt. Frau Schoenberg tells a much different story: Furtwaengler visited them in Paris and offered to negotiate with the Nazis for the release of Schoenberg's assests. He expressed shame over what was being done to Schoenberg and asked them: "What shall I do now?" Schoenberg replied: "You must stay and conduct good music!" Max Reinhardt also urged him to remain.
I met a cellist who had played under Furtwaengler in the Leipzig Gewandhaus Orchestra. He of course was a Jewish German refugee. When this man was about to emigrate, he had a conversation with Furtwaengler about the political situation. According to him, Furtwaengler said that he could not abandon his orchestra, as he regarded them as his children. One might add that Furtwaengler also had fears that the Nazis would imprison his mother if he emigrated (remember that they did in fact confiscate his passport after his resignations). Interesting that he did finally emigrate after learning that his mother had died.
Being Jewish AND German, I can appreciate the notion that there was another, truer Germany that existed along with the Nazis, and that men like Furtwaengler were needed to keep its values alive. (Only recently has a German Resistance been acknowledged).Had he not stayed and used his influence whenever he could, the Berlin Philharmonic might not exist today, and something like 108 people might not have survived the war. On a personal level, however, I now wish that he had left, for his own sake, and could have avoided the irresponsible vilifications that he still, posthumously, undergoes at the hands of people who won't look beneath the surface. But like Frau Schoenberg, I will hold Furtwaengler dear in my heart, no matter what slander is thrown in his way.
Description of Great Conductors of the Third Reich: Art in the Service of Evil
GREAT CONDUCTORS OF THE THIRD REICH includes stunning newsreel footage showing that Böhm, Furtwängler, Karajan, Knappertsbusch and Krauss, among others, turned themselves and their art into Nazi propaganda. The Nazis wanted to be perceived as men of culture, so they crowned many of their victories with concerts, which they sometimes filmed. "We are bringing the world the greatest art," was their message.
On this DVD a newsreel presents panzers parading down the Champs-Elysées juxtaposed with Karajan conducting the Prussian Staatskapelle in occupied Paris. Other footage includes Furtwängler conducting in celebration of Hitler's birthday, also Hitler at Bayreuth. When women see Hitler they weep with joy. The performances are glorious, spiritual even--the greatest art in the service of the greatest evil.--Stefan Zucker
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