Welcome again and thank you for joining us for another episode of "Music and Politics." As ever our discussions precede and finish with musical selections. Today's two musical texts are pre-war historical and are presented in full. These are shellac recordings made in the 1930s by members inside the institution that is our discussion to day the Jewish Kulturbund of Nazi Germany They are:

The Orchestra of the Jewish Kulturbund performs "Jewish Dance," part of the suite named "Uriel Acosta," recorded in 1935, a modern composition by Karol Rathaus, student of Franz Schreker. He escaped Nazi Germany in 1933 ultimately serving as a longstanding composition professor at Queens College.
The Choir of the Kulturbund here performs "Moaus Zur," this is an ironic liturgical poem known in English as the "Rock of Ages." Choir director Berthold Sander, A trained Kapellmeister at the Conservatory in Frankfurt, he served in that function in Mainz and Hildesheim before the handover of power to the Nazis. A leading Kulturbund activist for seven years, in 1941 he was deported to Theresienstadt from where he never returned.

By the Law of April 7, 1933, Jewish writers and artists were no longer allowed to be members of public orchestras or opera or theater companies, to have concert agents, or to join artists’ clubs or organizations. In the wake of this mass firing, the Kuturbund was formed. It is entirely probable that the Nazis would never have invoked such a solution if left to their own devices, if only for the fact that an operating set of procedures for Jewish exclusion had not been established. Although the Cultural League could easily insert itself into Nazi structures, it was the result of Jewish self-assertion, an initiative that achieved more through its independence of motivation that it would have at the behest of the Nazi cultural bureaucracy. It also should be noted that the Kulturbund Deutscher Juden or Cultural League of German Jews as it was originally called, fulfilled in a dual manner what could be referred to as a Nazi state of desired norms with reference to the Jewish minority in Germany. First, it solved the problem of Jewish mass unemployment and appeared to elide the costs of Jewish exclusion in an attractive framework which would not damage the international reputation of the new German government. If the Jews had a thriving cultural life supported by the government than the stories of persecution would appear implausible. Second, in addition to the “extraction” of politically undesirable or culturally modernist elements, Nazi cultural essentialism sought to remove Jewish cultural production, regardless of its national or aesthetic orientation from the larger German cultural sphere. Nazi essentialism refers to the fact that identity was determined through race of biology not choice or religion, and that one did not have to consciously express racially undesirable traits in order for them to appear.

Political and social compromise and dependence coexisted with cultural autonomy. The “collaboration” of the Cultural League, if one were to call it such, could not be subsumed under the categories of the collusive, i.e. shared ideological suppositions, or the combatative, i.e. as a facade for an active resistance, because the aim of such “spiritual resistance” is not at all contiguous with the goals of material resistance and, by extension, actual physical survival. Cultural autonomy is characterized by the fact that even after ideological or material appropriation or instrumental use under a political regime, authoritarian or otherwise, there is still a space of artistic purposiveness