1 The subject of Hamlet in Dresden – and other Shakespeare adaptations around the country in the seventeenth century – is discussed by Simon Williams in Shakespeare on the German Stage (Cambridge University Press, 2004).
2 DCA, file 802.
3 Ibid.
4 The exhibits of such richly jewelled swords – and other wonders in gold, porcelain and tapestry – are now permanently on show in the Dresden Royal Palace. The site www.schloesserland-sachsen.de/en/palaces-castles-and-gardens/dresden-royal-palace/ gives a taste of the other aesthetic wonders.
5 As with the Royal Palace and its Green Vault, the Zwinger Galleries – literally across the road – are so fully restored that it is possible to spend days in them. For an overview of their exhibitions and works, it is worth looking at www.der-dresdner-zwinger.de/en/home/.
6 Ibid.
7 Ibid.
8 Dresden’s modern art museum, the Albertinum, contains many of Friedrich’s works among its dazzling array of exhibits. See albertinum.skd. museum/en.
9 For a discussion of Nolde see Michael Hoffmann, ‘At One with the Universe’, London Review of Books, 27 September 2018.
10 See Ian Buruma, ‘Art of a Degenerate World’, New York Review of Books, 27 September 2018.
11 Dix’s nightmares and the psychological impact of war upon his work are explored in fascinating detail by Paul Fox in ‘Confronting Postwar Shame in Weimar Germany: Trauma, Heroism and the War Art of Otto Dix’, Oxford Art Journal, vol. 29, no. 2 (June 2006).
12 Felixmüller was a friend of the Isakowitz family; examples of his work are at www.monicapetzal.com.
13 A short illustrated overview of Griebel’s work can be found at weimar art.blogspot.com/2010/06/otto-griebel.html.
14 A further analysis of the exhibition and its internal aesthetic conflicts is Neil Levi, “Judge for Yourselves!” – The ‘Degenerate Art Exhibition as Political Spectacle’, October, vol. 85 (Summer 1998).
15 There is an interesting blogspot on the original Dresden ‘Degenerate Art’ exhibition and the works featured, plus the evolution of this artistic persecution, at hausderkunst.de/en/notes/beschlagnahme-der-entarteten-kunst-1937-1938.
16 As well as an illuminating range of his work in the Dresden Albertinum (see note 8 above), there is a good essay on earlier subjects before his dismissal and reluctant move into landscape studies by Sabine Rewald in ‘Dix at the Met’, Metropolitan Museum Journal, vol. 31 (1996).
17 For a short biography of Mauersberger and a range of photographs through the decades see www.bach-cantatas.com/Bio/Mauersberger-Rudolf.htm.
18 An interesting blog on Mauersberger and the Kreuzchor together with excerpts from his Dresdner Requiem can be found at www.overgrownpath.com/2006/02/dresden-requiem-for-eleven-young.html.
19 Siegfried Gerlach, George Bähr. Der Erbauer der Dresdner Frauenkirche. Ein Zeitbild (Böhlau, 2005).
20 Perhaps rather startlingly, a recording was made of this 1944 performance and was available into the 1990s.
21 Robert Giddings, ‘Wagner and the Revolutionaries’, Music & Letters, vol. 45, no. 4 (October 1964).
22 Hans Rudolf Vaget, ‘Wagnerian Self-Fashioning: The Case of Adolf Hitler’, New German Critique, no. 101 (Summer 2007).
23 Elena Gerhardt, ‘Strauss and His Lieder’, Tempo, no. 12 (Summer 1949), is a charming personal reminiscence that also mentions the occasion he took the Dresden Opera Company to London in 1936.
24 Zweig, The World of Yesterday, for this and what follows.
25 Zweig’s time as an exile in Brazil was dramatized in a film reviewed – with some background – in The Economist in 2016: www.economist. com/prospero/2016/06/22/stefan-zweig-in-exile-a-european-in-brazil.
26 Thomas Eisner, ‘Fritz Busch: A Friend Remembered’, Musical Quarterly, vol. 85 (Autumn 2001).
27 Raffaele De Ritis, ‘Circus Sarrasani’, www.circopedia.org/Circus_Sarrasani.
28 Ibid.
29 Hay’s memoir – ‘An Old Airman’s Tale’, as told to Malcolm Brooke – is available at www.bomberhistory.co.uk.