Conclusions
Hartmann and Ullmann are but just two extraordinary individuals; the tip of the iceberg. Their works took on the characteristics of styles from the 1920s and drew particular inspiration from defamed composers, but had very individual tonal languages. A close study of their works contributes towards establishing a sense of continuity in 20th century music. As illustrated through Miserae, Concerto funebre and Der Kaiser von Atlantis, the musical language draws upon an amalgamation of harmonic styles from their modernist predecessors, but also formal structures derived from neoclassicism and Expressionism, all moulded to create their personal idioms. Their music was influenced by the radical concepts towards sound and harmony in the early 20th century, and thereafter, influenced music of the postwar era. This is particularly true for Hartmann, who contributed greatly to the restoration of German music after the war.
Further Research
There is still much potential for further investigation just looking at the composers who stayed in Germany but were not actively pro-Nazi, and the ones who had already established careers but were interned in concentration camps. Other possible strands of research include - 1) comparisons between the styles of those who stayed in Germany and the emigres who managed to escape the regime during its early years, 2) the output and motives of musicians who prospered and were seemingly pro-Nazi (e.g. Werner Egk), 3) the repertoire choice of the Berlin Philharmonic and State Opera during the Reich, and of the radio. Perhaps most fascinating of all is the question of culpability with regards to ambiguous dissidents such as Furtwangler, an area where some historical revisionism has been conducted to avoid a binary system of classification of Nazi victims versus sympathisers.
The music provides a good starting point to understand what people experienced, to understand the complexities of life and culture under oppression and war. It is enough to marvel at the depth and sincerity of works such as the three mentioned in this study, and the pieces are effective in their own right, even without the contexts behind their origins. More importantly, they provide a starting point for us to reflect on how, in the worst of times, the sinews binding art and the human spirit remain just as powerful, if not more. Regardless of the relative peace of our time, their music and the messages conveyed remain very much relevant, and should not be overlooked simply because they were not given many performances during their lifetime, if at all. Perhaps we, like the Allied forces aiding German society in the postwar era, prefer to consider the Second World War in isolation from surrounding events in history, a black hole in time where unspeakable horrors happened that could not happen again. This project ‘Music in the Third Reich’ chooses not to focus on propaganda, emigration or death, but on the voices of those who held on to faith and humanity. We can come to a better understanding of the intricacies of war, politics, culture and art, if we engage more deeply in the voices that individuals left behind.
The music provides a good starting point to understand what people experienced, to understand the complexities of life and culture under oppression and war. It is enough to marvel at the depth and sincerity of works such as the three mentioned in this study, and the pieces are effective in their own right, even without the contexts behind their origins. More importantly, they provide a starting point for us to reflect on how, in the worst of times, the sinews binding art and the human spirit remain just as powerful, if not more. Regardless of the relative peace of our time, their music and the messages conveyed remain very much relevant, and should not be overlooked simply because they were not given many performances during their lifetime, if at all. Perhaps we, like the Allied forces aiding German society in the postwar era, prefer to consider the Second World War in isolation from surrounding events in history, a black hole in time where unspeakable horrors happened that could not happen again. This project ‘Music in the Third Reich’ chooses not to focus on propaganda, emigration or death, but on the voices of those who held on to faith and humanity. We can come to a better understanding of the intricacies of war, politics, culture and art, if we engage more deeply in the voices that individuals left behind.