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3. See Auerbach, Helmuth, “Hitlers politische Lehrjahre und die Münchener Gesellschaft, 1919–1923,” Vierteljahrshefte für Zeitgeschichte 25 (1977): 1–45;Google ScholarTurner, Henry A. Jr., German Big Business and the Rise of Hitler (New York and Oxford, 1985).Google Scholar

4. Kater, Different Drummers, 41; idem, The Twisted Muse.

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6. Currently republished in Taruskin, Richard, Text and Act: Essays on Music and Performance (New York and Oxford, 1995).Google Scholar

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9. Robinson, J. Bradford, “Jazz Reception in Weimar Germany: In Search of a Shimmy Figure,” in Music and Performance, ed. Gilliam, , 107–34.Google Scholar

10. Quotation Riethmüller's liner notes for “ Erwin Schulhoff,” piano music played by SherriJones, compact disk WER 6281–2 (Mainz, 1995). Also see John, Musikbolschewismus, 146–52. Confrey, the composer of the then fashionable Tin Pan Alley-style “Kitten on the Keys,” is not even mentioned in Leonard Feather's authoritative The Encyclopedia of Jazz (New York, 1960);Google Scholar Whiteman is, but critically, 460. Also see Blesh, Rudi, Shining Trumpets: A History of Jazz, 2nd ed. (New York, 1976), 336.Google Scholar

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13. Taylor, Ronald, Kurt Weill: Composer in a Divided World (London, 1991), 270–73, 279–80;Google Scholar quotation Weill to Maurice [Speiser], 22 January 1944, Weill-Lenya Research Center, New York, 47/14.

14. Hinton, Stephen, “Lehrstück: An Aesthetics of Performance,” in Music and Performance, ed. Gilliam, , 59–73;Google Scholaridem, Kurt Weill: The Threepenny Opera (Cambridge, 1990). See my review of the last-mentioned in Modern Drama 25 (1992): 483–84.Google Scholar

15. Quotations Hinton, “Lehrstück,” 70.

16. Hailey, Christopher, “Rethinking Sound: Music and Radio in Weimar Germany,” in Music and Performance, ed. Gilliam, , 13–36Google Scholar, quotation 14.

17. Personal file of Otto Urack, Berlin Document Center (now Bundesarchiv Aussenstelle Berlin-Zehlendorf—BAAZ for short); facsimile in Schrader/Schebera, The “Golden” Twenties, 121.

18. In Music and Performance, ed. Gilliam, , 37–58.Google Scholar

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20. Kater, The Twisted Muse.

21. Hill, “‘Overcoming Romanticism,’” 40.

22. Potter, Pamela M., “German Musicology and Early Music Performance: 1918–1933,” in Music and Performance, ed. Gilliam, , 94–106Google Scholar, quotations 95.

23. Personal files of Gerigk and Stege in BAAZ; Kater, Different Drummers; Kater, The Twisted Muse.

24. See Chap. 4 in Kater, The Twisted Muse; Potter, “German Musicology,” 98, 103–4.

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26. Chap. 4 in Kater, The Twisted Muse.

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32. Meyer, Michael, The Politics of Music in the Third Reich (New York, 1991).Google Scholar See the review by musicologist Evans, Joan in Central European History 26 (1993): 242–43CrossRefGoogle Scholar, and my own review in Canadian Journal of History 27 (1992): 152–53.CrossRefGoogle Scholar But also see Meyer's, much more original earlier work in exploratory articles, such as “Music on the Eve of the Third Reich,” in Towards the Holocaust: The Social and Economic Collapse of the Weimar Republic, ed. Dobkowski, Michael N. and Wallimann, Isidor (Westport, 1983), 315–42.Google Scholar

33. Levi, Music in the Third Reich, 36–37, 122.

34. Ibid., 42–43.

35. Ibid., 43. See my forthcoming book, The Twisted Muse, for details on Stravinsky and Hindemith. My insights into the Stravinsky complex have been decisively informed by the pioneering work in this area of Joan Evans, who has several important publications pending.

36. Levi, Music in the Third Reich, 43–44. See Heyworth, Peter, Otto Klemperer: His Life and Times, vol. 1 (Cambridge, 1985), 391–417.Google Scholar

37. Levi, Music in the Third Reich, xiv.

38. Ibid., 47. See Kater, The Twisted Muse.

39. Levi, Music in the Third Reich, 49, 116, 192.

40. Ibid., 158; Kater, The Twisted Muse, chaps. 4 and 5.

41. Levi, Music in the Third Reich, 49; Kater, Different Drummers, 44.

42. Levi, Musik in the Third Reich, 51, 57.

43. Ibid., 84. CfPrieberg, Fred K., Kraftprobe: Wilhelm Furtwängler im Dritten Reich (Wiesbaden, 1986);Google Scholar more trenchantly and critically Evans, Richard J., “Playing for the Devil: How Much Did Furtwängler Really Resist the Nazis?” Times Literary Supplement, London, 13 11 1992, 3–4;Google ScholarDie Tagebücher von Joseph Goebbels: Sämtliche Fragmente, ed. Elke, Föhlich, 5 vols. (Munich, 1987);Google ScholarDie Tagebücher von Joseph Goebbels, pt. II: Diktate, 1941–1945, ed. Elke, Fröhlich, 15 vols. (Munich, 1993–1996).Google Scholar

44. Levi, Music in the Third Reich, 91, 137, 236.

45. Ibid., 114.

46. Ibid., 197; chap. 3 in Kater, The Twisted Muse.

47. Levi, Music in the Third Reich, 142.

48. The exceptions are very occasional materials microfilmed for the archives of the Wiener Library in London.

49. On jazz, see Levi, Music in the Third Reich, 119–23. Also Kater, Michael H., “Forbidden Fruit? Jazz in the Third Reich,” American Historical Review 94 (1989): 11–43CrossRefGoogle Scholar, and my book Different Drummers, Further, see e.g., Dahlhaus, Carl, “Politische Implikationen der Operndramaturgie: Zu einigen deutschen Opern der Dreissiger Jahre,” in Bericht über den Internationalen musikwissenschaftlichen Kongress Bayreuth 1981, ed. Christoph-Hellmut, Mahling/Sigrid Wiesmann (Kassel, 1984), 148–53;Google ScholarDanuser, Hermann, Die Musik des 20. Jahrhunderts (Regensburg, 1984);Google ScholarZenck, Claudia Maurer, “Erich Itor Kahn: Ein unbekannter Mittler der Neuen Musik,” Musica 6 (1986): 525–31;Google ScholarZenck, Maurer, Ernst Krenek—ein Komponist im Exil (Vienna, 1980)Google Scholar (see also n. 29); Steinweis, Alan E., Art, Ideology, and Economics in Nazi Germany: The Reich Chambers of Music, Theater, and the Visual Arts (Chapel Hill and London, 1993).Google Scholar Even if this book had come too late for Levi, he could have looked at Steinweis's, earlier pertinent works, such as “Weimar Culture and the Rise of National Socialism: The Kampfbund für deutsche Kultur,” Central European History 24 (1991): 402–23.CrossRefGoogle Scholar

50. Levi, Music in the Third Reich, 172, 259, n. 10.

51. Ibid., 177–82, quotation 178.

52. Grunberger, Richard, The 12-Year Reich: A Social History of Nazi Germany, 1933–1945 (New York, 1971).Google Scholar