When Classical Music Was an Alibi

On April 16, 1955, the soprano Camilla Williams became the first Black singer to appear at the Vienna State Opera, bowing as Cio-Cio-san in Puccini’s “Madama Butterfly.” Critics hailed it as a landmark and said it illustrated how much Vienna had changed since the end of World War II, a decade earlier.

What went undiscussed by the newspapers at Williams’s debut, however, were the colleagues she performed with: among others, Wilhelm Loibner, Erich von Wymetal and Richard Sallaba, all of whom were active musicians in Austria under National Socialism.

Sallaba, a tenor, sang in several special performances of Strauss’s “Ariadne auf Naxos” for the Nazi leisure organization “Kraft durch Freude” (“Strength Through Joy”) between 1941 and 1943. On July 15, 1942, Loibner conducted a performance of Smetana’s “The Bartered Bride” for the Wehrmacht, and barely a month after Hitler committed suicide, he was back on the podium at the Vienna State Opera leading Puccini’s “La Bohème.” Von Wymetal, who coached Williams for her debut, assumed his position as the State Opera’s stage director after Lothar Wallerstein, a Jew, fled in 1938.

Was Williams’s milestone tainted because she worked with those whose artistic careers directly benefited from the Nazi regime? Faced with such a question, we might be tempted to say that politics has nothing to do with classical music. It is an argument that has been heard again and again when artists come under scrutiny for their involvement in current events — most recently, musicians whose ties to President Vladimir V. Putin of Russia have been questioned.

Performing classical music, or listening to it, has never been an apolitical act. But the idea that it might be flourished in the wake of World War II, thanks in part to the process of denazification, the Allied initiative to purge German-speaking Europe of Nazi political, social and cultural influence.

The American and British military demanded that German and Austrian musicians who wanted to resume work fill out “Fragebogen,” comprehensive questionnaires that sought to determine the extent of their political complicity. This resulted in lists of “white,” “black,” “gray acceptable” and “gray unacceptable” artists — categories that were immediately the subject of disagreement. The process also varied widely by region. American officials were initially committed to systematic denazification and decried the “superficial, disorganized and haphazard” efforts in the zones occupied by France, Britain and Soviet Russia.

But even in the American zone, strict blacklists were short-lived. By 1947, responsibility for assessing guilt was transferred to German-run trial courts, which were invested in resuming the rhythms of institutionalized music-making, for cultural and economic reasons. The moral aims of denazification quickly conflicted with the realities of music as an industry and a set of labor practices. Austria’s often-claimed position after the war as “Hitler’s first victim” likewise meant that musical affairs there resumed quickly — with even less public conversation about accountability.

Musicians slipped through the denazification process with relative ease. Many rank-and-file artists had been required to join Nazi organizations in order to remained employed, and the correlation of such membership to ideological commitment was often ambiguous. Individuals tended to lie on their forms to obtain a more advantageous status. And artists such as the eminent conductor Wilhelm Furtwängler referred to music’s apolitical status as a kind of alibi, even when they had performed on occasions, and as part of institutions, with deep ties to the regime.

Allied forces were keen to “clean up” the reputations of musicians whose talents they valued, and even aided some in gliding through the denazification process. On July 4, 1945, the soprano Elisabeth Schwarzkopf was asked to fill out a Fragebogen because she was on the Salzburg register of National Socialists in Austria. Had the form been deemed acceptable, the American military would have approved her return to the stage.

But when the American intelligence officer overseeing her case, Otto von Pasetti, realized that she had lied on the form, he destroyed it. The following day, she was asked to fill out another one. Although it was not any more accurate, Pasetti accepted it because Schwarzkopf’s status as a celebrity diva had convinced him that “no other suitable singer” was available for major operatic performances. Shortly thereafter, she climbed into a jeep driven by an American officer, Lieutenant Albert van Arden, and was driven 250 kilometers to Graz, Austria, to sing Konstanze in Mozart’s “Die Entführung aus dem Serail.”

After 1945, then, career continuity was more the norm than the exception. Denazification status defined immediate employability but was only one factor in musicians’ prospects. Artists looking to resume their careers readily identified themselves as POWs, refugees, bombing victims, disabled soldiers and widows, many facing housing and food insecurity. Reference letters used postwar hardship as a justification for priority consideration or tried to explain how a person had been pulled into, as one put it, the “vortex” of Nazi politics. One baritone assured administrators that although he had been detained in a prison camp for several years, he still “had the opportunity to practice.”

These claims of hardship easily slid into narratives of victimhood. Bombed concert halls and opera houses in formerly Nazi territories were potent symbols of destruction and the necessity of rebuilding, but also enabled the focus to shift from Nazi atrocities to German suffering. At the opening of the rebuilt Vienna State Opera on Nov. 5, 1955, just months after Williams’s debut in “Butterfly,” the conductor Karl Böhm — who had led concerts celebrating Hitler’s annexation of Austria in 1938 — was on the podium for the celebration. No Jewish survivors were invited to participate.

Performances amid the rubble reignited a sense of community and attempted to rehabilitate classical music as inherently humanistic, universal and uplifting after its supposed “corruption” by propagandistic use during the Nazi era. In “The German Catastrophe” (1946), the historian Friedrich Meinecke evoked the power of German music as a restorative force: “What is more individual and German than the great German music from Bach to Brahms?” For Meinecke, the country’s music was redemptive, expressing the national spirit while still possessing a “universal Occidental effect.”

Some composers, encouraged by the Allies, promoted the idea that modernist musical techniques were particularly antifascist because they had been banned by the Nazis — an exaggeration both of Nazi officials’ stylistic understanding and of the level of control they exerted over the arts. Winfried Zillig, a German who composed in the 12-tone style, had many career successes from 1933 to 1945, including major opera premieres and a position in occupied Poland, granted as a reward for his operas’ political values.

But Zillig later claimed that the Nazis had repressed his music. Around the time of his denazification trial, he expressed outrage at being “one of the few surviving ‘degenerates’” — that is, composers who, as modernists, were targeted by the regime — who was facing the indignity of being labeled a propagandist. Zillig’s self-flattering version of events was enshrined in Adorno’s writing about him and was not debunked until 2002, long after his death. His career as a conductor and radio director flourished in West Germany, and he played an important role in the dissemination of modern music.

Despite the black-and-white thinking that too often accompanies these topics, and how easy it is to retrospectively condemn, Zillig’s career is a reminder that all working Austrian and German musicians were implicated in the Third Reich. The fact that classical music was the industry they worked in does not mean they transcended politics.

The more uncomfortable truth may be that the ambiguity of classical musicians’ status under Nazism makes them prime examples of “implicated subjects,” to use the theorist Michael Rothberg’s phrase. Rothberg writes that “implicated subjects occupy positions aligned with power and privilege without being themselves direct agents of harm; they contribute to, inhabit, inherit or benefit from regimes of domination, but do not originate or control such regimes.”

Many German and Austrian musicians occupied this liminal place, neither victim nor perpetrator but a participant in the history that produced both those positions. The well-meaning but blunt categories of denazification after 1945 actually blurred our understanding of the complex systems that led to war and genocide and how musicians operated within them.

In 1948, seven years before Camilla Williams sang “Butterfly” in Vienna, the Black American soprano Ellabelle Davis gave a recital there, marking the first time a Black concert singer had performed in the Austrian capital since the outbreak of the war. Calling Davis’s performance “the first fully validated representative of the vocal arts from overseas since the war,” one critic heralded her debut as a turning point in Vienna’s musical journey, an opening of borders and an acceptance of voices that only a few years earlier would have been unthinkable.

Commentators also pointed out that Davis was the first Black singer to perform in a Viennese classical venue since Marian Anderson in November 1937, a few short months before the Nazi annexation. At last, these critics said, the city was being restored to its previous era of musical openness. Such comments created a timeline that bridged the Nazi era, cordoning it off as an aberration.

Yet other competing continuities also defined Vienna. Only a few months before Davis’s recital, the composer Arnold Schoenberg, who was Jewish, shared a scathing critique of the city’s postwar racial politics. Schoenberg, who had fled Europe in the 1930s, wrote in 1948, “I have the impression that in Vienna racial issues are still more important than artistic merit for judging artwork.”

Later, in 1951, he affirmed that judgment: “I would like it best if performances of my music in Vienna were banned completely and forever. I have never been treated as badly as I was there.” Appeals to continuity after World War II could condemn or vindicate. Both classical music’s history of racism and its universalist aspirations persisted.

In moments of war and violence, it can be tempting to either downplay classical music’s involvement in global events or emphasize music’s power only when it is used as a force for what a given observer perceives as good. Insisting on a utopian, apolitical status for this art form renders us unable to see how even high culture is implicated in the messy realities of political and social life. We must work to understand the complex politics of music, even when that means embracing discomfort and ambiguity.

Emily Richmond Pollock teaches at the Massachusetts Institute of Technology and is the author of “Opera After the Zero Hour: The Problem of Tradition and the Possibility of Renewal in Postwar West Germany.”