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pim_derks
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« Reply #60 on: 14:37:01, 28-09-2008 » |
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Here is a link to the river people where two CDs feature Trunk's music. One of those two dicsc also features music by Paul von Klenau (1883-1946).  Some facts about Von Klenau might be interesting to this discussion. Von Klenau was a Danish composer whose relationship to the Nazi dictatorship was highly ambivalent. Von Klenau was fascinated by Arnold Schönberg's twelve tone system but he also wanted to serve the Nazi régime (I read somewhere that he divorced his Jewish wife but I don't know if this divorce was politically motivated). He combined Schönberg's system with tonal elements and managed to convince the Nazis that this was an "Arian" type of twelve-tone music (Schönberg's system was dismissed as "entartet" because its developer was a Jew). I heard a few pieces by Von Klenau and they were not bad at all, I have to say. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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time_is_now
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« Reply #61 on: 16:16:52, 28-09-2008 » |
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He combined Schönberg's system with tonal elements So did Berg. He was dead by December of 1935, though, and I'm not sure what contact if any he ever had with the Nazis. It struck me last night that the revelations in Günter Grass's autobiography which caused such a fuss a couple of years ago were an interesting pendant to this discussion, although as with the examples Milly gave, Grass was much younger at the time in question. Interestingly from a historian's point of view, though, in the extended discussion that took place at the time in the LRB letters pages, the only person who wanted to condemn Grass outright was Robert Morgan, a professional historian (follow the link and scroll down to 'Former Selves'). |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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autoharp
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« Reply #62 on: 19:04:46, 28-09-2008 » |
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« Last Edit: 19:18:41, 28-09-2008 by autoharp »
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oliver sudden
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« Reply #63 on: 22:42:04, 28-09-2008 » |
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He combined Schönberg's system with tonal elements So did Berg. So, let us not forget, did Schönberg/Schoenberg. |
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time_is_now
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« Reply #64 on: 22:46:12, 28-09-2008 » |
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So, let us not forget, did Schönberg/Schoenberg.
Quite right, O [nearly] King! I thought about adding that, then left it. (I think I was trying to make the point that Levi was not the only 'Aryan' to do so.) |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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Sydney Grew
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« Reply #65 on: 07:18:37, 30-09-2008 » |
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Our thoughts keep returning to the residence - some say "villa" - at Riederau on the shores of Lake Amm in which Trunk spent his golden years 1945 to 1968; the questions of whether it was a rental property or owner-occupied and if the latter how and when it was acquired are somehow very important. If ever we get round to writing his biography we will need to know such details; perhaps another member has more information. Another work which looks interesting is his " Von der Vergänglichkeit" opus sixty, comprising settings for male chorus of Schiller, Michelangelo and Gryphius (pictured). |
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« Last Edit: 07:25:34, 30-09-2008 by Sydney Grew »
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pim_derks
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« Reply #67 on: 09:22:47, 30-09-2008 » |
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If ever we get round to writing his biography First finish your first string quartet, Sydney! |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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Baz
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« Reply #68 on: 16:52:43, 30-09-2008 » |
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Since nobody but Mr Grew seems in any way inclined to explore the context of Trunk's Nazism, I thought this extract from Michael H. Kater's The Twisted Muse: Musicians and Their Music in the Third Reich (1997) pp 152-4 might provide an initial contextual view: Perhaps we see again an early example of the cancer of Political Correctness exerting its evil influence. Baz |
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pim_derks
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« Reply #69 on: 17:32:25, 30-09-2008 » |
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I want to thank member Baz for the very informative text written by the indispensable Michael Kater. "Trunk, another epigone of the Romantics, (...) used his good connections to SA Captain Ernst Röhm."Please help me, Mr Grew: was Richard Trunk perhaps a reactionary queen dismissing "vulgar" democracy and at the same time admiring the white skin of young Hitlerjugend boys? Do tell us!  |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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autoharp
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« Reply #70 on: 18:59:48, 30-09-2008 » |
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Since nobody but Mr Grew seems in any way inclined to explore the context of Trunk's Nazism Actually, Baz, I posted a link to this on p.1 of this thread (!) since I was "inclined to explore the context of Trunk's Nazism". But thanks for producing the text in black and white, as it were. |
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Antheil
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« Reply #71 on: 19:14:20, 30-09-2008 » |
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I thought Baz's posting was interesting, as was pim-derks' reply. Doing a little digging it appears there was quite a gay scene within the SA and The Third Reich (which surprised me) with Ernst Rohm and Karl Ernst et al. Which of itself is interesting on the one hand, but on the other flipper unless Herr Trunk's music is available to hear we are merely on a path of conjecture are we not without hard facts. Therefore, is he worth bothering about?
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Reality, sa molesworth 2, is so sordid it makes me shudder
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Ted Ryder
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« Reply #72 on: 19:34:18, 30-09-2008 » |
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Antheil, you should see Visconti's "The Damned" with Dirk Bogard and Ingrid Thulin for a very "interesting"  interpretation of "The night of the long knives" (nothing to do with Mr Macmillan!) |
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I've got to get down to Sidcup.
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pim_derks
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« Reply #73 on: 19:40:35, 30-09-2008 » |
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Visconti's "The Damned" with Dirk Bogard and Ingrid Thulin True masterpiece, Ted. The scene with Gunther and his SS-uncle is also unforgettable. |
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"People hate anything well made. It gives them a guilty conscience." John Betjeman
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Sydney Grew
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« Reply #74 on: 01:19:15, 01-10-2008 » |
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Since nobody but Mr Grew seems in any way inclined to explore the context of Trunk's Nazism, I thought this extract from Michael H. Kater's The Twisted Muse: Musicians and Their Music in the Third Reich (1997) pp 152-4 might provide an initial contextual view: We thank Messrs. Autoharp and Iron for drawing the group's attention to the book of a Mr. Kater. It is written in such an unpleasant tone of aggressive intolerance - very like the tone adopted by a certain contributor to this forum who we have reason to believe has never been east of Dagenham - as to preclude its ever being regarded as in any way authoritative! We looked this Mr. "Kater" ("Tom-Cat") up and as expected he is not an Englishman and has his own history and agenda. One can tell at once that there is no bottom to Mr. Kater the moment he attempts through the mere application of the expression "epigone of the Romantics" to disparage Herr Trunk! Just look at him! As we wrote already in the first message of this thread, there is some music whose beauty is too much for modern ears. Trunk's continues evidently to this day to be subject to the most ruthless censorship. |
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« Last Edit: 01:21:08, 01-10-2008 by Sydney Grew »
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