Beethoven and the Third Reich Source: David B. Dennis 1996, chapter 4 Once in power, the Nazi propagandists were able to fully exploit the cultural link between Beethoven’s music and the German people. The major difference between what the Nazis did during the Weimar Republic and the Third Reich had to do with their ability to use all of the resources of the Reich to make the Beethovian connection.

The Nazi propagandists worked to “purify” the image of Beethoven. They re-wrote Beethoven’s actual history in order to make him appear truly symbolic of their view of Nordic virtues. They reinvented Beethoven’s relationship with his father (whom he hated), and to some extent his mother. They refined and extended their musical propaganda to the fullest extent possible, without opposition from other social or political sectors. Radio, literature, newsreels, and especially live concerts were used to spread a new and now dominant Beethoven myth.

The Nazis promoted the idea that Beethoven believed in National Socialist ideals. They particularly fostered the idea that Beethoven supported the idea of a wise and powerful leader, a Führer. The Nazis also argued that Beethoven himself was a “world conqueror,” and that he supported efforts to dominate the world musically and politically.

The direct implication was to make the implicit and explicit connection between Beethoven and Aldolf Hitler. German musicologists were “encouraged” to make connections between Beethoven and the Nazis in their scholarly publications. They did so with significant enthusiasm. Children were systematically indoctrinated to the Nazi-Beethoven myth through concerts and teachings, making Beethoven into a Nazi role model.

Jewish Cultural Organization orchestras were prohibited from playing any Beethoven music. Live Beethoven concerts were otherwise prolific throughout Germany, and nearly always with the participation or encouragement of Nazi organizers. The goal was to make Beethoven and his music representational of the Nazi movement.

Examples: 1. The Egmont Overture played immediately before Goebbels made his speech entitled, “German Culture at a New Beginning” at the 1933 opening of the Reich Culture Chamber in Berlin. 2. In 1935, for the “Cultural Day of the Party Congress in Nuremberg, the Egmont Overture was again performed. 3. Parts of the Ninth Symphony were played during the 1936 Berlin Olympics.

Beethoven’s opera “Fidelio” was often used to make a statement about Hitler. 1. Herbert von Karajan conducted the Aachen orchestra in 1938 in the performance of Fidelio in honor of Hitler’s birthday. 2. The point was to associate Hitler with the character Fidelio (the heroic savior). Care was taken to make sure he was not associated with Pizarro, the cruel jailer who tried to kill Florestan. Goebbels was active in these efforts.

The Second World War The prose writings about Beethoven by Richard Wagner were used extensively by the Nazi propagandists to depict the British poorly. This supported the war effort. Beethoven’s march and militaristic- sounding music was resurrected. Wartime concerts brought forth a new Beethovian sound that was distinctly military oriented.

During the war, Beethoven’s Seventh Symphony was presented as the “Symphony of Nazi Victory.” When Hitler died, German radio played the Funeral March from the Third Symphony (Eroica). It became the unofficial requiem for the Führer.