Posts Tagged ‘Nazi Germany’

Nazi Document Center Opens

Wednesday, April 29th, 2015

Documentation Center for the History of National Socialism

By ANDREW POWELL
Published: April 29, 2015

MUNICH — Tomorrow, a year behind schedule but 70 years to the day since Munich fell to the Allies, a six-story-high, slatted white cube opens for visitors here: the Documentation Center for the History of National Socialism, or NS-Dokumentations-Zentrum. Significantly, it stands directly on the site of the former Brown House, where the fascist leaders maintained offices. As the center’s website points out:

“The City of Munich is aware of its special obligation to keep alive the memory of the Nazi era and its crimes and to inform citizens and visitors about it. After all, it was here in Munich that the rise of the National Socialist movement began after the First World War. Munich was also the scene of the beer-hall putsch of 1923 and of Hitler’s subsequent trial. Here Hitler found influential patrons who gave him entry to bourgeois circles. And it was here in 1938 that Goebbels called for the nationwide pogrom against the Jewish population. After the Nazis seized power in 1933, Munich was chosen by Hitler as the place to celebrate the cult of Nazism and given the titles Capital of German Art and Capital of the Movement.”

Designed by Georg Scheel Wetzel Architekten, the 5,000-square-meter facility also happens to be a few feet from Germany’s top conservatory, the Hochschule für Musik und Theater, itself housed in the Nazi-built former Führerbau. Harshly its positioning and aspect interrupt Bavarian King Ludwig I’s two-century-old, Neo-Classical civic plan between Königsplatz and Karolinenplatz. Munich moved at a snail’s pace to realize the cube, which provides permanent and temporary exhibition space as well as study rooms. In contrast, Cologne and the Obersalzberg resort area, location of the Eagle’s Nest, have long operated similarly purposed learning facilities. Now this city can do the strongest job in furtherance of “nie wieder.”

Photo © Georg Scheel Wetzel Architekten

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A Stirring Evening (and Music)

Wednesday, April 24th, 2013

Lakeside at the Evangelische Akademie Tutzing

By ANDREW POWELL
Published: April 24, 2013

MUNICH — Members of the Bavarian Radio Symphony Orchestra venture six times a year to Lake Starnberg, some 20 miles southwest of here, to play chamber music at the Evangelische Akademie Tutzing, or EAT, as its website favicon reads. A mid-season program (Feb. 24) paired quintets by Mozart and Schumann in the venue’s airy music room, drawing skilled performances. But extra-musical ghosts disturbed this particular offering: concert tickets include a guided tour of EAT — once a lone lakeshore chapel, later a castle, palace and U.S. Army HQ — and our evening began with docent tales of, among other matter, a 1945 American troop obliteration of the palace library, Dwight Eisenhower’s name being dropped for good measure.

What? The troops fight their way into Bavaria, set up at Tutzing Palace to administer a new basis for democracy, and are remembered for trashing books? So much for perspective. Then again, Tutzing can seem stuck in the 1920s and 30s: Adolf Hitler’s beer-hall putsch buddy Erich Ludendorff is grandly buried there and the former fishing village memorializes “Hitler’s pianist” Elly Ney — Carnegie Hall attraction in 1921, ardent Nazi by 1933 — on its much-visited Brahms Promenade. Physically the town has changed little over the decades.

Our thoughts stirred by the guide’s earful, we crossed the yard for musical respite. Mozart’s G-Minor String Quintet, K516, resounded in handsome proportion and balance. Antonio Spiller, first violin, stressed the cheery second theme of the opening Allegro emphatically enough to prepare for Mozart’s abrupt turn in the closing movement. Leopold Lercher, Andreas Marschik and Christa Jardine partnered him attentively throughout, even if they couldn’t quite match his poise and confidence. Cellist Helmut Veihelmann intoned with care, but the ear craved more of a grounding, more cello volume. In the Schumann Piano Quintet, after a coffee break and snowy stroll by the lake (pictured), unrestrained collegial exchanges and pianist Silvia Natiello-Spiller’s buoyant passagework found color aplenty, even kitschy color. Marschik took the viola part.

EAT’s buildings date to medieval times. The small chapel got wrapped in a castle in the 16th century, its watery and Alpine views appropriated. Sundry owners and architects later morphed the premises into a modest post-Baroque palace. In 1947 the Lutheran Church assumed control, followed by ownership two years later in a 350,000-Mark deal. Tranquil seminars and coffee-table conferences now prevail along with occasional music events, such as those of the BRSO ensembles.

Given the pre-concert assertions and the irksome notion of book destruction, this U.S. listener decided on a little post-concert research. Quick findings: Eisenhower did spend time in Tutzing in the 1940s, returning there repeatedly for off-duty art lessons in 1951, but where he stayed isn’t clear; and the palace library did vanish during the 1939–45 war, but whether the honors fell to the U.S. Army isn’t clear at all. And regardless of what happened to the books, the American presence achieved positive results in Tutzing starting immediately.

Indeed, one life-saving story would well serve EAT’s docent and his Bayerischer Rundfunk (BR) pre-concert narrative. On the night of April 29, 1945, a train of prisoners — Russians, Romanians, Hungarians and Poles — pulled into Tutzing station. 800 in number and mostly men, they had been dispatched from Bavaria’s newly wound-down Mühldorf concentration camp, east of Munich, to the Tyrol, and to slaughter at the hands of waiting SS personnel. But a providential delay occurred — Tutzing is 90 minutes from the Tyrol — attributed variously to a faulty locomotive, a righteous local flagman, and even a prescient German commanding officer.

The next morning, on the same day that Hitler turned the lights out and Munich fell to the Allies, the XX Corps, part of George Patton’s U.S. Third Army, reached the town. Little fighting ensued because Tutzing was a Red Cross safe zone. The troops soon located the Benedictine Hospital crammed with wounded German soldiers, and the makeshift care beds arrayed in the high school and other buildings. Then they found the train, confronting directly the horror of camp survivors and at first wrongly concluding that Tutzing itself had been a camp location. The prisoners were told of their freedom, and the weakest removed from the train for treatment.

Decisive action followed. The American command seized a number of Tutzing homes for emergency use, instructing the locals to double up with their neighbors. The less seriously wounded of the German soldiers now lost their hospital beds to Mühldorf survivors in critical condition, the majority of them Jewish Hungarians. Although educated by the Reich to resist the enemy to the bitter end, many Tutzingers waved white flags for the U.S. troops, engendering whistles of censure from their more determined neighbors.

On May 1 the troops located a Nazi school campus on high ground in the next village, Feldafing, and rapidly commandeered it to serve as a new home and care facility for the former prisoners, now officially “displaced persons.” (Novelist and social critic Thomas Mann had owned a condo retreat in one of the campus buildings. He lived in Munich for 40 years before fleeing the country upon Hitler’s ascendancy in 1933.) On the morning of May 2, a working locomotive having been procured, the Todeszug crept back three miles the way it had come and transferred the survivors, giving them real beds and room to roam. Months later, after it became clear across Germany that ethnic groups among former prisoners did not always get along with each other, each displaced-person facility would become designated for a specific group, Feldafing for Jewish Hungarian survivors. With a population that eventually climbed above 4,000, the site would gain a reputation as “a place … to find missing people.”

The war raged for another five days before tacit German surrender May 7 at Reims. American troops requisitioned Tutzing Palace on June 7, setting up Army of Occupation HQ there three days later. This remained operative until the end of 1945, a pivotal command center at the very start of the 10-year Allied Occupation of Germany. In context, the books seem inconsequential.

Photo © Evangelische Akademie Tutzing

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Brahms Days in Tutzing

Thursday, November 8th, 2012

The Wetterstein range, with Germany’s highest mountain, the Zugspitze, viewed across Lake Starnberg from Tutzing

By ANDREW POWELL
Published: November 8, 2012

MUNICH — Johannes Brahms came here in 1870, catching the completed half of Wagner’s Ring and hobnobbing with colleagues, Liszt among them. He basked in new celebrity, his German Requiem having appeared in print a year earlier. The visit ended with a few days’ repose at Lake Würm, nearby.

He came again three years later. Der Ring remained incomplete, but in any case he sought other things: a meeting with poet Paul Heyse, guidance on writing for orchestra from conductor Hermann Levi (whose brother ran his asset portfolio), and more time at the deep tranquil lake (pictured), with its southward vistas to the Alps. Levi duly helped in the city, and the composer checked in in May for a four-month lakeside stay in the fishing village of Tutzing, lately reachable from downtown by train.

Brahms: “Tutzing is prettier than recently imagined … . The lake is usually blue, but a deeper blue than the sky … also the chain of snowy mountains — one cannot stop looking at them.”

Tutzingers take pride in this Brahms connection. It produced the Haydn Variations and gave life to the two long-stalled, minor-key string quartets. At a stretch, you could say the sojourn nudged Brahms over thresholds in both his orchestral and chamber music. It saw too the premiere of the Acht Lieder und Gesänge, Opus 59.

Settled in the 6th century by families called Tozzi and Tuzzo, Tutzing sports a lakeshore Brahms promenade, a Brahms memorial, a Brahms apothecary and, not so inevitably, a Brahms festival.

This last, dubbed Tutzinger Brahmstage, had an abortive start in the 1950s on the initiative of anti-Semite and “pronounced National Socialist” pianist Elly Ney. Later, much later, artist manager Christian Lange put the festival on an annual fall footing with modest strata of local government support. Sometime in between, Lake Würm officially became “Lake Starnberg.”

But music festival visitors to handsome Tutzing face a number of ponderables. A walk of homage along the spectacular promenade, for instance, finds the composer honored in flat stone between lake and Alpine view benches, a pleasing effect until you turn and see, lurking just feet away, a grand memorial to the Nazi pianist with high bronze bust and trellised garden.

Choosing when to visit confronts the problem of five events spread around three weekends, not the Ojai-like “days” timeframe suggested by the festival name. (A Carl Orff Festival in the next municipality, where that composer is buried, does better in this regard and supports its local hotels.)

Then there is the matter of programming. Tutzinger Brahmstage 2012, which has just ended amid blazes of fall color and a run of blue skies, favored rings around the composer in place of any survey. Mostly Brahms it was not. Brahms and jazz (a concert on Oct. 18) go together like Mahler and reggae. The lone string chamber work offered, the G-Major Sextet (Oct. 14), got lumped with an unneeded reduction for the same forces of Beethoven’s Pastorale Symphony. Baritone Michael Volle diluted his Liederabend (Oct. 21) with warhorses of Mahler, lessening the time to explore Brahms’s vaster output for voice.

On Oct. 26, though, festive impulses and programming logic coalesced nicely. Someone had recalled that Brahms wrote organ music and had invited Vienna-based Renate Sperger to play the 3,000-pipe, 28-year-old Sandtner organ of Tutzing’s neo-Baroque St Joseph’s Church, an instrument with ripe sound and tight, unobtrusive action.

Her program contrasted Johann Nepomuk David’s quasi-cartoonish 1947 Partita on Es ist ein Schnitter, improbably a heartfelt tribute to a friend he lost in combat, with a row of Brahms chorale preludes. Six of these, concluding with O Welt, ich muß dich lassen, were from Opus 122, the chiseled and ashen collection penned a year before the composer died. At midpoint came Brahms’s early but resolute Prelude and Fugue in A Minor, WoO 9 (1856), while two Bach staples — the Fantasia and Fugue in G Minor, BWV 542, and the Toccata and Fugue in D Minor, BWV 565 — framed the evening.

Sperger traced the excesses of the David with calm efficiency and savored introspection in the chorale preludes, abetted by Sandtner’s suave apparatus. In the Bach pairings, she wrought requisite thunder and scaled the quilted fugal flights with unbroken legerdemain.

On the evidence of this year, Tutzinger Brahmstage holds potential in reserve, not least for local businesses. Brahms’s music, particularly the vocal and chamber scores, suits an intimate meeting place, and Tutzing has an authentic claim as a host town, with viable concert venues in St Joseph’s Church and the Evangelische Akademie, its idyllically sited former palace. A focused few days and a sculptural clean-up on the promenade could work wonders.

After leaving Tutzing and Munich in 1873, Brahms returned home to Vienna. There he led the Philharmonic in the November premiere of the Haydn Variations, an orchestral triumph from which he never looked back.

The next month he was once more in Bavaria, to pick up mad King Ludwig II’s Maximilian Medal for Art and Science. Wagner got his at the same time. Who knew? Perhaps Ludwig thought equally highly of both of them.

Photo © Tourismusverband Fünf-Seen-Land

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Political Mother: Bring Earplugs and Irony

Saturday, October 13th, 2012

By Rachel Straus

Hofesh Schechter is a slippery soul. In Political Mother, seen October 11 as part of Brooklyn Academy of Music Next Wave Festival, the Israeli-born choreographer cloaks his earnestness in irony. The 80-minute, 2010 work is structured through a series of blackouts in which 12 dancers and seven musicians evoke the demagoguery in politics, and entertainment.

Photo by Juileta Cervantes

The work pivots on three visions: the rock concert, with the rapper raging into his microphone above supplicants of fans. The military-style drummers, who appear in portals like a set of Kodak negatives, and who drive the dancers into waves of hyperkinetic motion. The tribe, who perform Hasidic-like folk dances, but with an intensity that beckons questions about their sanity. Dressed like prisoners, with arms raised in their air as though they are shackled from above, they not so subtly evoke those who lived in concentration camps.

Despite these visions, what stays in the mind about Politcal Mother are the slick production values and the deafening sound of Schechter’s pounding music.

Repetition is used to drive home Schechter’s theme: whether you are in Nazi Germany, present-day Williamsburg, Brooklyn or watching a James Bond movie (Daniel Craig was in the audience), it’s all the same. Humans behave like drones, they suffer like beasts, and one man will always rise to the top in attempts to control others.

Photo by Julieta Cervantes

So where is Mother in all this antic behavior? She is folk dance. In electric-yellow lights, at the dance’s end, we read the following words, “Where there is pressure, there is folk dance.” For Schechter, folk dance appears to be the universal form of protest against oppression. It’s where Schechter’s creativity and carefully cloaked earnestness lies.

In folk dance, Schechter rejects the current state of high art, opera house dance, the codified vocabulary of ballet, which historically in Western Europe was the sanctified form of dance expression. With folk dance, Schechter taps into populism. He can skirt between visions of the rock concert, the neo-nationalist volk of Leni Riefenstahl’s films (that helped consolidate Hitler’s power), and the zealousness of far-right religious fundamentalists. What’s notable is that these adopted visions are cynical ones. But, nonetheless, with folk vocabulary—the stamping rhythms, the democracy of the circle dance, and the erasure of gender (in Schechter’s use of it)—beats the heart of this Israeli’s artistry. Like a true postmodernist, Schechter isn’t able to openly love the folk dance he loves. He’s a choreographer in a cat’s cradle.

Throughout the work, I wondered how Political Mother could possibly end. With the cast going mad, the appearance of a masked gorilla, and two murder attempts by pistol, how could Schechter up the ante? The answer: Cinema technique. Schechter hits the rewind button. In less than five minutes, he gives us snapshots of the dance from end to beginning. Consequently the work opens, and concludes, with a Samurai-like warrior committing hari-kari with a sword that pierces his belly from front to back. Too bad this beginning didn’t get more laughs. Watching one male dancer with dreadlocks grunting and groaning from his self-inflicted wound was not a catharsis. It was a cartoon. Few got it. American audiences are indeed earnest.

Photo by Julieta Cervantes

Nonetheless, neo-folk dance is the wellspring from which many great choreographers (from Leonide Massine to Pina Bausch to Alexi Ratmansky) return for material. It’s a way of bringing concert dance back to the people, back to a human body that isn’t always upright and gloriously assured. In Political Mother, Schechter is on to something. Too bad he isn’t willing to tender his dancing credo with less ironic hyperbole.

In one notable section Schechter interpolates the music of Verdi—and—he leaves the stage empty. Solemnity, he seems to be saying, doesn’t include dance movement. Solemnity is reserved for sound, and in that respect Schechter may end up devoting more of his time to musical composition than to choreography.