The Routledge Handbook to Music under German Occupation, 1938-1945

Introduction: the foundations of Nazi musical imperialism Section 1 Musical life, resistance and destruction in occupied European capitals 1 Composers as critics in occupied Paris 2 The Conservatoire in occupied Kiev (19 September 1941 to 6 November 1943)3 Nazi musical imperialism in occupied Poland 4 Music and musical life in occupied Athens Section 2 Adaptation and opportunism 5 The Rome-Berlin Axis: musical interactions between Fascist Italy and Nazi Germany in redrawing a 'New Order for European Culture'6 In search of a musical identity in the Nazi-occupied Netherlands 7 Symphonic music in occupied Belgium (1940-1944): the role of 'German-friendly' music societies 8 Music, culture and the Church in the German-occupied USSR: the Smolensk area and other provinces Section 3 Appropriations and reputations 9 Celebrating a Mozart anniversary in occupied Belgium: the Mozart Herdenking in Vlaanderen (1942)10 The ambiguous reception of Antonin Dvorak's music during the Reichsprotektorat Bohmen und Mahren (The Protectorate of Bohemia and Moravia), 1939-1945 11 Celebrating the Nordic tone - fighting for national legacy: the Grieg Centenary, 1943 Section 4 Between two evils 12 The song collector, the year of terrors and the catastrophe that followed: a life in occupied Latvia 13 The music of Ciurlionis in the context of resistance and Lithuanian national identity during the Nazi occupation (1941-1944) 14 Power through music: strategies of the German occupation authorities in Estonia Section 5 The limits of tolerance 15 Getting away with Cultural Bolshevism: the first European performance of Porgy and Bess in Copenhagen, 1943 16 Music criticism in the Swedish Nazi daily press: the case of Dagsposten Section 6 Damaged careers 17 (Re)visiting the (Jewish) archive of Gideon Klein - Terezin, 1941-1944 18 Eugeniusz Morawski: life under the Nazi occupation of Warsaw Section 7 Symphonies of war and resistance 19 Religious patriotism and grotesque ridicule: responses to Nazi oppression in Pavel Haas's unfinished war-time Symphony 20 Paul von Klenau's Ninth Symphony: a case study 21 Shostakovich's 'Leningrad' Symphony: music of endurance Section 8 Complex and uneasy legacies 22 Listening in the Grey Zone 23 The marketing of backstories: approaches to the legacies of music composed in fraught circumstances 24 Nazism, music and Tyrolean identity 25 Bartok against the Nazis: the Italian premieres of Bluebeard's Castle (1938) and The Miraculous Mandarin (1942) 26 Contemporary music and cultural politics in Switzerland during World War II: between neutrality and nationalism