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Beethoven in the Bunker: Musicians Under the Nazi Regime
This compelling survey examines the remarkable relationship between the Nazis and classical music through the stories of musicians, composers, and conductors across the political spectrum.
May 1945. A Soviet military patrol searches Hitler’s secret bunker in Berlin. They find bodies, documents, jewelry, paintings—and also an extensive collection of 78 rpm records. It comes as no surprise that this collection includes work by Beethoven, Wagner, and Bruckner. The same goes for a procession of other giants promoted by the Nazi “It seems as if the Nazis put a steel helmet on Mozart, girded Schubert with a saber, and wrapped barbed wire around Johann Strauss’s neck,” composer Robert Stolz once said. But how is it possible that Hitler’s favorites also included “forbidden” Jewish and Russian composers and performers?
While Hitler sat secretly enjoying previously recorded music in his bunker, musicians made of flesh and blood were denied a means of making a living. They died in concentration camps or in other war-related circumstances. They survived but ended up in psychiatric care; they managed to flee just in time; they sided with the regime—out of conviction or coercion—or they joined the resistance. From fiery conductor Arturo Toscanini, who defied Mussolini and Hitler, to opportunistic composer Richard Strauss and antisemitic pianist Elly Ney, who collaborated with the Third Reich to varying extents and for different reasons, Fred Brouwers profiles the complex figures of this extraordinarily fascinating chapter in music history.
May 1945. A Soviet military patrol searches Hitler’s secret bunker in Berlin. They find bodies, documents, jewelry, paintings—and also an extensive collection of 78 rpm records. It comes as no surprise that this collection includes work by Beethoven, Wagner, and Bruckner. The same goes for a procession of other giants promoted by the Nazi “It seems as if the Nazis put a steel helmet on Mozart, girded Schubert with a saber, and wrapped barbed wire around Johann Strauss’s neck,” composer Robert Stolz once said. But how is it possible that Hitler’s favorites also included “forbidden” Jewish and Russian composers and performers?
While Hitler sat secretly enjoying previously recorded music in his bunker, musicians made of flesh and blood were denied a means of making a living. They died in concentration camps or in other war-related circumstances. They survived but ended up in psychiatric care; they managed to flee just in time; they sided with the regime—out of conviction or coercion—or they joined the resistance. From fiery conductor Arturo Toscanini, who defied Mussolini and Hitler, to opportunistic composer Richard Strauss and antisemitic pianist Elly Ney, who collaborated with the Third Reich to varying extents and for different reasons, Fred Brouwers profiles the complex figures of this extraordinarily fascinating chapter in music history.
268 pages, Kindle Edition
Published April 11, 2023
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Displaying 1 - 13 of 13 reviews
November 24, 2023
Interesting short biography of selected musicians, conductors, and composers in WWII. Ultimately the book fell short because it did not reach any conclusions at the end. Instead, it reads as a collection of magazine articles.
August 31, 2024
Ever wonder how Herbert von Karajan became such a ubiquitous presence in the world of classical music.
Turns out, after the Nazis were defeated, the great conductor had a little time on his hands. In fact, he was banned from performing live under de-Nazification, but available to go into Abbey Road Studios and conduct the Philharmonia Orchestra in some 150 foundational classical recordings. By 1947, the ban on performance was lifted, and he resumed his rise.
I learnes this tidbit in Fred Brouwers’ work on the musicians who rejected, embraced or accommodated (Richard Strauss, Hans Pfitzner) the murderous Nazis. Others emigrated. Von Karajan rushed to join the Nazi Party. “Von Karajan had without a doubt been one of the standard bearers of the Hitler mindset.” With conductor and musician ranks cleared from emigration, his star rose, and he was able to best a less-enthusiastic Nazi to become musical director in Aachen—and guest-conduct in Nazi-occupied Brussels and Amsterdam. He had a big Nazi patron and protector—Goebbels. He graced Hitler’s birthday and conducted to commemorate the Anschluss.
A chilling read that makes me wonder about the ambitious people today who avoid certain topics for fear of upsetting current-day authoritarians. There are inspirations, too—the tenor Joseph Schmidt (the Jewish Caruso), whose singing was so beloved the Nazis wanted to make the Jewish musician an honorary Aryan. He refused, and fled. In 2008, an astronomer named a small star after Schmidt, who was never able to reach safety in the United States.
Turns out, after the Nazis were defeated, the great conductor had a little time on his hands. In fact, he was banned from performing live under de-Nazification, but available to go into Abbey Road Studios and conduct the Philharmonia Orchestra in some 150 foundational classical recordings. By 1947, the ban on performance was lifted, and he resumed his rise.
I learnes this tidbit in Fred Brouwers’ work on the musicians who rejected, embraced or accommodated (Richard Strauss, Hans Pfitzner) the murderous Nazis. Others emigrated. Von Karajan rushed to join the Nazi Party. “Von Karajan had without a doubt been one of the standard bearers of the Hitler mindset.” With conductor and musician ranks cleared from emigration, his star rose, and he was able to best a less-enthusiastic Nazi to become musical director in Aachen—and guest-conduct in Nazi-occupied Brussels and Amsterdam. He had a big Nazi patron and protector—Goebbels. He graced Hitler’s birthday and conducted to commemorate the Anschluss.
A chilling read that makes me wonder about the ambitious people today who avoid certain topics for fear of upsetting current-day authoritarians. There are inspirations, too—the tenor Joseph Schmidt (the Jewish Caruso), whose singing was so beloved the Nazis wanted to make the Jewish musician an honorary Aryan. He refused, and fled. In 2008, an astronomer named a small star after Schmidt, who was never able to reach safety in the United States.
January 28, 2024
It lacked any thing approaching a cohesive approach that presents a history of 'Musicians under the Nazi Regime' in the broad sense, instead essentially just being a collection of short biographical sketches telling what happened to a number of musicians who lived in Germany. Which is... fine... but it was pretty underwhelming given how there was no attempt to connect those threads together and tell a bigger narrative.
July 5, 2025
Challenging reading about the fates of composers, instrumentalists and conductors in WWII Europe: some escaped (Paul
Abraham) , some stood their ground remaining (Toscanini, Bronislaw Huberman- Recruited musicians to form Palestinian Orchestra saving their lives), some were sent to the camps. ( Joseph Bor & Rafael Scachter- died Auschwitz after playing in a model camp, Oliver Messiaen, composer- survived stalag in prisoner of war camp released 1941 to work in Paris conservatory but lived with health problems the rest of his life), some made themselves “ useful” to the Germans ( Richard Strauss , Anton Webern) and others became full fledged Nazis ( Elly Ney- pianist, Stravinsky- Italy)
86. Bronislaw Huberman: in a benefit concert for scientist, persecuted by the Nazis in New York with Albert Einstein, when Einstein missed his entrance Huberman turned to the scholar and Nobel laureate know what your problem is? You can’t count to three!
87 1936 forming an orchestra in Israel: Huberman’s initiative killed two birds with one stone. He had improved the cultural life in Israel, while saving the lives of thousands of Jewish musicians and their families. Or was it three birds? That’s certainly true if one reads Huberman‘s quote: “one has to build a fist against antisemitism. A first class orchestra will be that fist!” The Nazi regime must’ve felt the blow, because among all the world’s musicians, the party labeled Huberman “the greatest enemy of the Nazis.”He would’ve been honored.
79 Huberman was “The Oskar Schindler of music”
Ended p.200
Needed a more uplifting book at this time
Abraham) , some stood their ground remaining (Toscanini, Bronislaw Huberman- Recruited musicians to form Palestinian Orchestra saving their lives), some were sent to the camps. ( Joseph Bor & Rafael Scachter- died Auschwitz after playing in a model camp, Oliver Messiaen, composer- survived stalag in prisoner of war camp released 1941 to work in Paris conservatory but lived with health problems the rest of his life), some made themselves “ useful” to the Germans ( Richard Strauss , Anton Webern) and others became full fledged Nazis ( Elly Ney- pianist, Stravinsky- Italy)
86. Bronislaw Huberman: in a benefit concert for scientist, persecuted by the Nazis in New York with Albert Einstein, when Einstein missed his entrance Huberman turned to the scholar and Nobel laureate know what your problem is? You can’t count to three!
87 1936 forming an orchestra in Israel: Huberman’s initiative killed two birds with one stone. He had improved the cultural life in Israel, while saving the lives of thousands of Jewish musicians and their families. Or was it three birds? That’s certainly true if one reads Huberman‘s quote: “one has to build a fist against antisemitism. A first class orchestra will be that fist!” The Nazi regime must’ve felt the blow, because among all the world’s musicians, the party labeled Huberman “the greatest enemy of the Nazis.”He would’ve been honored.
79 Huberman was “The Oskar Schindler of music”
Ended p.200
Needed a more uplifting book at this time
June 2, 2023
Fascinating life stories about talented musical artists, most of whom you've likely never heard of, fill in a historical gap in the myriad of books about World War II.
In 1930s-40s Germany and the occupied territories, well-known composers, musicians, singers and directors — some with continental and even international reputations — refused to abide by Nazi dictates about what music was allowed; they suffered the consequences during the Holocaust.
How others managed to survive the Nazi oppression of not just Jews but music by Jews, atonal compositions and jazz, invites some critical assessment.
Some who had admired Jewish composers in the past had a sudden change of heart when push came to shove.
The research by author Fred Brouwers, a Flemish radio and television host and connoisseur of classical music, shows clearly that some of the non-Jewish musicians were frank antisemitics, and Brouwers strikes a balance between understanding and harsh judgement.
What's revealed in so many of these well-written brief biographical sketches is the struggle these artists faced as fascism challenged their art and even more so their livelihood.
Special nod must go to translator Eileen J. Stevens. What was originally Dutch sparkles in English in so many instances.
In 1930s-40s Germany and the occupied territories, well-known composers, musicians, singers and directors — some with continental and even international reputations — refused to abide by Nazi dictates about what music was allowed; they suffered the consequences during the Holocaust.
How others managed to survive the Nazi oppression of not just Jews but music by Jews, atonal compositions and jazz, invites some critical assessment.
Some who had admired Jewish composers in the past had a sudden change of heart when push came to shove.
The research by author Fred Brouwers, a Flemish radio and television host and connoisseur of classical music, shows clearly that some of the non-Jewish musicians were frank antisemitics, and Brouwers strikes a balance between understanding and harsh judgement.
What's revealed in so many of these well-written brief biographical sketches is the struggle these artists faced as fascism challenged their art and even more so their livelihood.
Special nod must go to translator Eileen J. Stevens. What was originally Dutch sparkles in English in so many instances.
December 27, 2023
This was a fascinating look at the lives of various musicians during the reign of the Nazis. Each chapter delves into a different musician. There are a couple of structural things that would make this book better: a smoother transition from the introduction to the first chapter (the intro is a super interesting look at what music was found in Hitler’s bunker and lightly explores his hypocrisy when it came to certain Jewish musicians, but then it just abruptly ends and the first chapter is about Paul Abraham - I just wanted like a paragraph or 2 of transition), and some kind of wrap up at the end. The last chapter is about Paul Douliez, which is fascinating, but then the book just ends. I would have liked a conclusion. Also, the chapter titled “From Myra Hest to Vera Lynn The Power of Music” was almost totally about the latter half of the title; Myra and Vera were barely mentioned and I would have liked to know more about them. Still a super interesting read.
December 11, 2024
This book was so good but so sad! (I couldn't handle some of the stories, so it took me forever to finish). I loved hearing the stories of all the different musicians and composers and how they survived the war. I liked how musicians on both sides were included. The story of Pual Hindemint was my favorite and most inspiring, and I'm learning the concerto mentioned in the novel with my private instructor now. Sometimes it was hard to track the idea of a section and what a sentence was conveying, but I honestly think that because it wasn't originally written in English.
May 22, 2023
5 stars for subject matter and 2 stars for the rest of it. I found the content disorganized and not comprehensive. It read like a master's thesis and I was just not convinced of some of assertions that the author made between composers, musicians and conductors and the Nazi regime.
Still a fascinating subject and I would love to read more on this topic.
Still a fascinating subject and I would love to read more on this topic.
July 13, 2023
I always want more info than what capsule biographies can give, and I was kind of hoping this would be more a cultural history of music during the Nazi regime than a series of capsule biographies. Even so, it gets an extra star for that comprehensive playlist. I’m excited to have a listen to that.
December 11, 2023
It’s at least a 3.5! It’s not at all the book I was expecting but it had some fascinating stories nonetheless.
December 19, 2023
This is a really lovely collection of stories. I learned about some new people and some interesting new info about famous composers.
February 21, 2025
More mini-bios than a woven together narrative, but with fascinating source material and salient observations about the connections between culture and political movements/control. Worth a read.
Displaying 1 - 13 of 13 reviews