Adorno, Theodor W.: culture in bombed cities, 8; thoughts on Mahler, 146; thoughts on Nazi musical culture, 37; thoughts on Wagner after WWII, 85, 86
Agop, Rolf, 111
Ahlgrimm, Hans, 46
Alexanderplatz, 134
Allied air war: Berlin’s destruction, 4; communities of listeners created by, 94; devastation wrought by, 5, 67; methods used, 3–4
Allied Kommandatura, 31
Alt, Bernard, 46
Alter, Henry: biography, 25; skepticism of Bitter, 55; thoughts on Furtwänger and von Karajan, 58; thoughts on Soviet policies, 75; work on behalf of Berlin Philharmonic, 47
Ambassadors of Music, 114, 115
American cultural officer, 20–25
American Forces Network (AFN): broadcasting during the Blockade, 106; creation of, 99; Gluski’s work for, 93, 106
Andreas-Friedrich, Ruth: Account of immediate postwar period, 43–44, 50; thoughts on the Kulturbund, 20
Arendt, Hannah, 107
Audilet, Oskar, 46
Bab, Julius, 147
Bach, J. S.: Bach Choir ruin performances, 114; cantatas, 50; chorale, 102; in postwar Dresden, 112; Zimmermann quotations of in Die Soldaten, 159
Bans, 34. See also blacklists
Barber, Samuel: Adagio for Strings, 55; American music to be promoted in Germany, 35
Bartók, Béla, 36, 55, 102, 149
Becher, Johannes R., 20
Beethoven, Ludwig van: Allied concerns about, 35; postwar performances of, 19, 35, 73, 106, 117, 123; Egmont Overture, 114, 116; Eroica Symphony, 35, 51, 96; Fidelio, 76, 83–84, 98; Fürtwangler’s performances of, 60, 61; in Nazi Germany, 34, 96; Ninth Symphony as Nazi propaganda, 119; radio performances of, 16; Romanze, op. 40, 116; Seventh Symphony, 96; symphonies in ruins, 46, 133
Beethovensaal, 45
Benda, Hans von: first postwar conducting appearances, 1, 12, 16; performance in Dahlem, 106
Benjamin, Walter, 135
Bennedik, Bernhard, 150
Berger, Erna: last recording under the Third Reich, 1; in Hansel and Gretel, 82; operatic reconstruction work, 71–73
Berlin: blockade, 61, 106; currency reform, 61; early division of East and West, 3; map of the sectors, 22
Berlin Chamber Orchestra, 1, 106
Berlin Music Days Festival, 150
Berlin Philharmonic Orchestra: Ambassadors of Music documentary film, 114, 115; concert-goers during the Third Reich, 59; concerts for the Allies, 54; denazification of, 30, 47–48; early postwar concerts, 44–45; final concert during National Socialism, 1; hall on Bernbergerstrasse, 16, 45–46; Nazi propaganda footage, 119; Nazi propaganda tours, 57; work with the American occupiers, 37
Bersarin, Nikolai: cultural work; 18, 43, 44, 68, 69, 73; death of, 19, 72
Bethmann, Hermann, 53
Bitter, John: attending concerts in Berlin, 106–107; biography, 24–25; conducting the Berlin Philharmonic, 55–56; friendship with Blacher, 104; work with Berlin Philharmonic, 47, 48, 57, 60, 62
Blacher, Boris: The Last Days of Berlin, 104–105; music in postwar Berlin, 36; postwar career and work with the occupiers, 103; premiere of The Flood, 81, 104
Blacher, Gerty Herzog, 103
black market, 60
blacklists: conductors banned by Americans, 53, 56; French non-use of, 32; music banned by the Allies, 34; occupier use of, 10, 31
Blues, 53
Bohnen, Michael: Director of the Städtische Oper, 69, 73–74, 80–81; President of the Chamber of Artists, 50
Böll, Heinrich, 7
Borchard, Leo: biography of, 44; death, 50, 54; postwar activities, 43–51
Borries, Siegfried, 116
Brahms, Johannes, 1, 55, 60, 99
British Allies: cultural officers, 27; governing of sector in early months, 26–27
Britten, Benjamin, 36, 80–81, 119
Broom, The, 131
Burgwinkel, Josef, 82
Burkhardt, Arno, 48
Bush, Alan, 36
Busch, Ernst, 18
Busch, Fritz, 53
Butting, Max: biographical information, 135–142; compositions after the war, 105, 131; The Guilt, 137; performances of his music in postwar period, 36; postwar work for Radio Berlin, 105; Songs from Berlin (Lieder aus Berlin), 138–141; thoughts on postwar German-Allied relations, 55
cabaret, 18, 117, 131–132, 142–143
Cage, John, 159
Carniolus, Jacobus Gallus, 112
Celibidache, Sergiu: correspondence with Furtwängler, 61; first concerts with the Berlin Philharmonic, 54; performing in the rubble of the Philharmonic, 114, 115, 116; playing Tiessen’s music in the postwar period, 148; termination of Philharmonic contract, 157
Chamber of Artists in the Soviet Sector: building on Schülterstrasse, 26; denazification, 31; founding of, 19; organization, 50
Charlottenburg, 19, 21, 43, 48, 98, 114, 149
Christkaus, Curt, 46
Clay, Marjorie, 82
Cold War, 11, 17, 69, 132, 151
Debussy, Claude, 115
Degenerate Music. See Entartete Musik
Demmer, Karl, 111
democracy: as opposed to Soviet policies, 62; as related to music, 21, 23, 30
denazification: American ICD personnel, 29–30; Fragebogen, 29–31; Spruchkammern and Prüfungsausschüsse, 31; of music, 33–37; uneven policies across Berlin, 31–32
Dessau, Paul, 158
Deutsches Theater (Berlin), 108
DIAS, 99
Dietrich, Marlene, 117
displaced persons camps, 119–120
Distler, Hugo, 112
Domgraf-Faßbender, Willi, 72, 73
Dresden, 7, 9, 53; rubble concert, 111–112
Dunbar, Rudolph, 48–53; conducting, 49; program with Berlin Philharmonic, 52
Dymschitz, Alexander, 17–19
Ederer, Alois, 46
Egk, Werner: account of the war’s end, 2; music during WWII, 44; opera die Circe, 81; postwar commissions, 157
Electrola, 56
Ellington, Duke, 35
Entartete Musik: Allied understandings of, 35–37, 100; on RIAS, 102
Enzensberger, Hans Magnus, 7
Eppstein, Cora, 142
Fischer-Dieskau, Dietrich: early postwar career, 76, 135; first appearance at the Städtische Oper, 81; recording Tiessen’s music, 148
Fraenkelufer Synagogue, 120, 121, 122
Frederick, Mellinger, 24
Free Federation of Unions (Freier Deutscher Gewerkschaftsbund or FDGW), 136, 150
French Allies: cultural officers, 27; governing of their sector, 27–28; Office of Music and Drama, 27; beaux arts program and other cultural initiatives, 28
Frick, Gottlob, 85
Friedrich, Caspar David, 7, 82, 133
Fritzsche, Eva, 143
Furtwängler, Wilhelm: activities under National Socialism, 56, 114; blacklisting of, 53; comments on Ambassadors of Music, 115; conducting Wager in Berlin after the war, 85–86; denazification process, 57–58; Philharmonic Director for life, 157; postwar account, 2; postwar exile in Switzerland, 43; return concerts in Berlin, 58, 60
Galinski, Heinz, 120
German guilt, 137–138
German victimhood: problematic understandings of, 3; opera as an expression of victimhood, 69
Germany, Year Zero, 7, 117, 118
Gluck, Christoph Willibald, 76, 106
Glyndebourne, 53
Goethe, Johann Wolfgang von, 116
Graupner, Alfred, 48
Great Love, The, 119
Grunewald, 50
Gruppe 47, 7
Halberstadt, 159
Hamburg, 4, 55, 67, 80, 101, 159
Handke, Adolph, 48
Harlem Symphony Orchestra, 51
Hartmann, Erich: postwar treatment, 46; thoughts about John Bitter, 56
Hartmann, Fritz, 48
Haydn, Joseph: The Creation in Nuremberg, 109; first postwar concert of, 1; on the radio, 99; other early postwar concerts of, 106
Hedler, Georg, 48
Heger, Robert: blacklisting of, 53; conducting at the Städtische Oper, 78, 81; head of Staatskapelle, 69; postwar performances, 50
Heine, Heinrich, 145–148
Heldengedenktag (Heroes Commemoration Day), 35, 95
Heldt, Werner, 7
Hillers, Marta, 75
Hindemith, Paul: Bitter’s performances of in postwar Germany, 56; Hindemith Affair, 57; influence on other composers, 149; on the radio, 102; supposed banning in Nazi Germany, 36, 101
Hinrichsen, Walter, 24
Hochschule für Musik, 20, 54, 76, 103, 144, 158
Höffer, Paul: biography, 148–151; International Music Institute, 104, 149; RIAS appearances, 102; rubble compositions, 131; Toccata, 1; work in postwar Berlin, 36
Hutton, Thomas, 61
Information Control Division (ICD): origins of, 22; radio section, 100
Inter-Allied Lending Library (Berlin), 36
Jaspers, Gertrud, 137
Jewish community (Jüdische Gemeinde), 120, 122
Jewish ruins, 119–123
Josselson, Michael, 25
Jüdischer Kulturbund, 145, 147
KaDeWe (Kaufhaus des Westens), 122
Kaiser Wilhelm Memorial Church, 113, 114, 124
Kardorff, Ursula von, 78
Kerr, Harrison, 35–36
Kleber, Wolfram, 48
Klemperer, Otto, 44
Kluge, Alexander, 159
Knappertsbusch, Hans: blacklisted, 53; propaganda tours, 57, 115
Knef, Hildegard, 76
Koussevitzky, Serge, 103
Krenek, Ernst, 102
Krueger, Alfred, 46
Kutz, Karina, 78
Leander, Zarah, 119
Leider, Frida: postwar work with the Staatsoper, 75–76, 82–83; Tristan and Isolde direction, 85; resignation at the Staatsoper, 158
Lenz, Willi, 47
Lerner, Ben, 159
Ludwig, Leopold: blacklisting, 53; conducting the Philharmonic in April 1945, 46; early postwar radio concerts, 98
Lyotard, Jean François, 132
Mahler, Gustav, 60, 93, 146, 149
Mauersberger, Rudolf, 112
Mendelssohn, Felix: Berlin Philharmonic performances of, 44–45, 47, 54; postwar concerts of, 16, 35, 85, 123; prohibition in Nazi Germany, 5, 35; radio broadcasts of, 93, 102
Mentzel, Ilse, 76
Metropolitan Opera, New York, 24, 53, 56
Meyerbeer, Giacomo, 35
Mitropoulos, Dmitri, 103
Mitscherlich, Alexander, 107–108
Mitscherlich, Margarete, 107–108
Mozart, Wolfgang Amadeus: music under the Third Reich, 71; on the radio, 98; postwar performances of his music, 16, 45, 55, 68
Müller, Anneliese, 76
Munich: Bavarian State Opera, 85; connection between music and architecture, 9; end of the War, 2; Fidelio, 81; Furtwängler’s performances in, 61; Munich Staatsoper, 80; music officers, 36; National Theater reconstruction, 156; Prinzregententheater, 67; radio, 97, 99; ruin concerts in, 107, 111–112; Schaubühne, 24; Staatsoper, 80
Murderers are among Us, The, 6
music: as an antifacist symbol, 36; as sabotage, 35; importation of national musics by the Allies, 35
Nabokov, Nicolas: biography, 24; descriptions of Berlin, 45, 85; friendship with Blacher, 104; self-promotion of his music, 54; thoughts on denazification, 30; work as an intelligence officer, 20–21, 23, 25, 82
Naumann, Rolf, 46
Nazi Party: attempts to define, 33–34; membership in, 136
Neumann, Karl August, 72
November Group (Novembergruppe), 135
Nuremberg: opera house, 67; ruin music making, 109–110
Office of War Information, 11
Onkel Emil, 43
Opera, 67–92
ordinary labor, 48
Orff, Karl, 2
Orpheus and Eurydice, 76–77
Passauer Street Synagogue, 122
Pestalozzistrasse Synagogue, 120
Pink, Ivor, 34
Piston, Walter, 36
polio epidemic, 11
Political Intelligence Division, 26
Porter, Cole, 35
Potsdam Conference and Agreement, 28, 61, 70
Potsdamer Platz, 84
Prenzlauer Berg, 21, 105, 120, 136
propaganda footage, 115
Propaganda Ministry, 29, 30, 31, 144, 145
Quante, Friedrich, 44
radio: Allied Radio efforts in Berlin after the War, 93; American Forces Network, 93, 99, 106; American sector (RIAS), 97, 99–100; Greater German Radio, Masurenallee, 1, 62, 96; patronage of Berlin composers, 103–104; repair shop, 98; Soviet radio (Radio Berlin), 98, 136; under the Nazi era, 95–96
reeducation program: approaches to, 11, 21–22; American personnel, 23; American justification for, 33; radio programming, 93
Reich Chamber of Culture (RKK): Berlin location of, 19; degenerate music, 36; denazification of members, 31; files hidden in the attic, 26; new historiographies of the RKK, 5
Reich Chamber of Music (RMK), 19; copyright organization, 137; cultural ambassadors of, 44; Effectiveness of, 136; Paul Höffer, 149; in relation to denazification, 30; leadership of, 57, 60, 81
Request Concert (film), 95
restitution: of costumes, 71; of opera holdings, 69–72; of Jewish property, 122
Ribbentrop, Joachim von, 99
Richter, Hans Werner, 7
Ries, Henry, 7
Riesenburger, Martin, 120
Rodziński, Artur, 103
Rosenbaum, Samuel, 34
Rosenberg, Alfred, 36
Rubble: defining feature of this book, 2; other genres and art forms, 6; rubble sublime, 6, 123, 133; rebuilding with music, 109, 110
Rubble Lieder, 132–135
Rubble women, 74–80
Rufer, Josef, 149
Ruins: concerts in, 94, 112, 113; listening to, 93–94; Romanticized ruin art forms, 133, 134; ruined bodies, 117, 118; Ruinenwerttheorie (Theory of Ruin Value), 133
Ruins at Night, 8
Rundfunkhaus, 47
Rykestrasse Synagogue, 120, 122
Sachsenhausen Concentration Camp, 46, 131, 142, 143
Scharoun, Hans, 156
Schlegel, Friedrich, 133
Schlövogt, Helmut, 46
Schlüter, Erna, 85
Schmidt, Eberhard: compositions, 143; internment in Sachsenhausen, 142–143; survival in Sachsenhausen, 131
Schmidt, Karl, 73
Schoenberg, Arnold, 102
Schubert, Franz, 99, 134, 139, 149
Schuldes, Anton, 46
Schüler, Johannes, 73
Schütz, Heinrich, 112
segregation, 51
She’erith Hapletah (Surviving Remnant), 120
Soviet Military Administration of Germany (SMAD), 18, 20
Staatsoper (Berlin): during the Cold War, 156; finances, 82, 85–86; rebuilding after the war, 67–73; ruin of, 16, 17
Städtische Oper (Deutsche Oper): British supervised, 28; during the Cold War, 156; Intendant of, 50; rebuilding after the war, 67–70, 73–74, 78–83
Stars and Stripes Forever, The, 55, 62
Staudte, Wolfgang, 6
Stehr, Walter, 138
Stern Conservatory, 144
Stockhausen, Karlheinz, 158
Stöß, Hermann, 114
Strauss, Richard: Brentano Lieder, 1; Death and Transfiguration, 1, 46; Der Rosenkavalier, 55; Don Juan, 51; Metamorphosen, 2; Music played under the Third Reich, 35; popularity with American occupiers, 2; suggestions for rebuilding opera, 68
Stravinsky, Igor, 24; music in Nazi Germany, 36; in postwar Germany, 101, 102
Stuckenschmidt, Hans Heinz: comments on Ambassadors of Music, 115; membership in the November Group, 135; program notes for the Philharmonic, 60; work for the Americans and RIAS, 101
Stunde Null. See Zero Hour
Suthaus, Ludwig, 85
Taylor, Davidson, 100
Tchaikovsky, Piotr: Berlin Philharmonic early postwar performances, 45; Eugene Onegin, 81–82; Pathétique Symphony, 115; postwar performances of, 1, 35, 55, 73; Sixth Symphony, 51
Tegel, 47
Theater des Westens: early postwar performances, 47; philharmonic rehearsals, 46; Städtische Oper relocating to, 68
Thimonnier, René, 34
Tiburtius, Joachim, 148
Tiessen, Heinz: biography, 144–148; membership in the November Group, 135; Op. 55, Heine and Bab Songs, 145–147; Op. 53, Klabund Songs, 145; rubble compositions, 132
Tietjen, Heinz: early postwar opera reconstruction, 68–69; work with the Städtische Oper, 81
Tippett, Michael, 35
Titania Palast: first postwar concerts, 44, 47; former movie theater, 46; Furtwängler’s return concerts, 60; Wagner at the Titania Palast, 85
Treptow, Günter, 78
Trümmer art forms, 6–8
Ulrich, Kurt, 46
Union of German Composers and Musicologists (VDKM), 137
Vogel, Alex, 57
Volksgemeinschaft, 95
Volksoper (Berlin), 68
von Einem, Gottfried, 44
Wagner, Richard: aesthetic goals in relation to the Nazi Regime, 84–85; Allied evocations of, 27, 35; comparisons of contemporary opera with, 81; music in Nazi Germany, 34; music in postwar Germany, 54, 83, 84–86
Wagner, Wieland, 86
Wagner, Winifred, 67
Walter, Bruno, 114
Webern, Anton, 101
Wehrmacht: administration offices, 44; commissions, 149; non-serving musicians, 54, 103; Philharmonic musicians and military service, 46; radio program, 95; Stockhausen, 158; Stuckenschmidt’s service, 101; wearing of uniform at concerts, 111; Zimmermann, 159
Weill, Kurt, 102
Weimar, 18, 26: Kroll opera, 44; musical culture, 135; postwar desire to return to, 133; radio listening, 95
Weißensee Jewish cemetery, 120, 122
Westerman, Gerhart von, 157
Wiesbaden opera house, 67
Wirtschaftswunder, 122
Witte, Erich, 82
Woywoth, Hans, 48
Xenakis, Iannis, 159
Zehlendorf, 21, 25, 47, 144, 149
Zero Hour: origins of the term, 4–6; skepticism of the term, 45, 60, 132
Zimmermann, Bernd Alois, 159