SHADES OF GRAY
ex. 13-5a Paul Hindemith, Das Marienleben, “Vom Tode Mariä III,” 1923 version, end
ex. 13-5b Paul Hindemith, Das Marienleben, “Vom Tode Mariä III,” 1948 version, end
The most noteworthy and literal case of inner emigration among composers who remained in Germany was that of the Munich composer Karl Amadeus Hartmann (1905–63). By the time of the Nazi takeover, Hartmann had already made a name for himself with a few piano and chamber pieces of a “new-objective” character, including a Jazz-Toccata und Fuge (1928) and two works for wind ensemble—Tanzsuite (1931) and Burleske Musik (1930)—that drew upon the composer’s experience, both in wind playing and in contemporary dance music, as a professional trombonist. From 1933 to 1945 not a note of Hartmann’s was played in Germany. Between 1933 and 1939 he submitted his music to competitions and festivals in neighboring countries (France, Austria, Czechoslovakia, Switzerland, Belgium), but with the coming of the war Hartmann’s withdrawal from public life became absolute.
- Citation (MLA):
- Richard Taruskin. "Chapter 13 Music and Totalitarian Society." The Oxford History of Western Music. Oxford University Press. New York, USA. n.d. Web. 21 Jan. 2025. <https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-013007.xml>.
- Citation (APA):
- Taruskin, R. (n.d.). Chapter 13 Music and Totalitarian Society. In Oxford University Press, Music in the Early Twentieth Century. New York, USA. Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-013007.xml
- Citation (Chicago):
- Richard Taruskin. "Chapter 13 Music and Totalitarian Society." In Music in the Early Twentieth Century, Oxford University Press. (New York, USA, n.d.). Retrieved 21 Jan. 2025, from https://www.oxfordwesternmusic.com/view/Volume4/actrade-9780195384840-div1-013007.xml
