Classical music was central to German national identity in the
early twentieth century. The preeminence of composers such as Bach
and Beethoven and artists such as conductor Wilhelm Furtwangler and
pianist Walter Gieseking was cited by the Nazis as justification
for German expansionism and as evidence of Aryan superiority. In
the minds of many Americans, further German aggression could be
prevented only if the population's faith in its moral and cultural
superiority was shattered. In
Settling Scores, David Monod
examines the attempted "denazification" of the German music world
by the Music Control Branch of the Information Control Division of
Military Government.
The occupying American forces barred from the stage and concert
hall all former Nazi Party members and even anyone deemed to
display an "authoritarian personality." They also imported European
and American music. These actions, however, divided American
officials and outraged German audiences and performers.
Nonetheless, the long-term effects were greater than has been
previously recognized, as German government officials regained
local control and voluntarily limited their involvement in artistic
life while promoting "new" (anti-Nazi) music.