I wrote, and reblogged, my research article Furtwängler and the forgotten new music to draw attention to some unknown music from what is described below as "this troubled period in music history." The following informed comments on the article therefore delighted me. Thank you Daniel in Frankfurt, and Garth in Washington DC, for making it all worthwhile Daniel Wolf wrote - The case of Max Trapp is fairly clear: he was a Nazi, and an early one. His "Appell an die Schaffenden" ("Call to Creative Artists"), in _Die Musik_,in which he identified himself as such, was published in June of 1933. The 1951 performance is simply a reminder that de-Nazification was slow. The most interesting musician on your list may well be Heinrich Kaminsky (photo left), and one whose career provides a useful contrast to Trapp. Kaminsky's father was an Old Catholic priest of Jewish background, and Kaminsky, who was Pfitzner's successor at the Prussian Academy of the Ar
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'Jerry probably meant (charitably) that Britten was a Brit...'
To really work for me the War Requiem needs to be a performamce event in a suitable venue. After all it was written to be performed in a cathedral. I often find conventional concert hall performances a bit sterile.
Colin Davis' 2004 Proms performance was very fine - appropriate venue for the forces, a wonderful conductor, and an electric atmosphere. But I have also heard fine performances outside London in venues such as Ely Cathedral using semi-professional forces.