4. 国家社会主義
ナチ時代における ウィーン・フィルハーモニー管弦楽団（1938年から1945年まで）
1938年に最も残酷なかたちで政治がウィーン・フィルに介入しました。ナチ党員がユダヤ人の楽団員全員を国立歌劇場の業務から即時解雇し、ウィーン・フィルハーモニー協会を解散させました。ヴィルヘルム・フルトヴェングラー等の働きにより、解散の決定通知が無効化され、「ユダヤ人混血」および「姻戚関係」に該当した2名が国立歌劇場管弦楽団からの解雇を免れました。新任されたナチ党の幹部が、強制収容所への収監から救出しようとし、介入したにも関わらず、5名の楽団員が強制収容所での抑留の結果亡くなるか、殺害されました。さらに2名の楽団員がウィーンで強制収容所への収容や迫害に直接起因する理由で命を失いました。
計9名の楽団員が国外へ追放されました。ユダヤ人の女性と婚姻関係にあった、あるいは「ユダヤ人混血」と烙印を押された11名の楽団員は、この「特別許可」が撤回されることに絶えず脅かされながら暮らしました。
しかしながら、ウィーン・フィルの中にもすでに国家社会主義企業細胞組織国立歌劇場（NSBO）の枠組みで極めて活動的な「違法」細胞が存在し、ナチ党（NSDAP）禁止令が敷かれていたにも関わらず、すでに1938年以前にナチ党員は楽団員の約20%を占めていました。1942年には123名の現役の楽団員のうち60名がナチ党員になっていました。
「ウィーン・フィルハーモニー管弦楽団 ナチ時代の歴史的概観」プロジェクトについて
2011年4月からオリバー・ラートコルプ教授により国家社会主義時代の犠牲者とウィーン・フィルハーモニー管弦楽団の亡命者に関する新たな資料が蒐集され、ウィーン・フィルのウェブサイトで公開されています。殺害された2名の楽団員、迫害あるいは強制収容所収監により亡くなった5名の楽団員そして国外追放された9名の楽団員の生涯に関する記録の一次資料です。ユダヤ人女性と婚姻関係にある、あるいは「ユダヤ人混血」と烙印を押された11名の楽団員の生涯についても精査し、分析しなければなりません。
2013年1月に当時のウィーン・フィル楽団長のクレメンス・ヘルスベルク教授の発議により、独立した歴史研究者のグループ（代表：オリバー・ラートコルプ教授、ベルナデッテ・マイヤホーファー女史、フリッツ・トリュンピ博士）に先述の新たに発見された資料およびウィーン・フィルの資料室で保管されている資料を参照した彼らの研究成果および出版物をウィーン・フィルのウェブサイトで公開するように依頼しました。
ベルナデッテ・マイヤホーファー女史は、国家社会主義のもと追放された、あるいは迫害され亡くなった、あるいは殺害された国立歌劇場管弦楽団の楽団員でウィーン・フィルハーモニー協会の会員であった人物の伝記的な肖像を取りまとめました。追放され、殺害された楽団員の生涯の多様さと複雑さを正当に評価するため、資料状況から（これまでに）明らかになった範囲で、彼らの人生を構築していた多くの様々な片鱗が、その人物の肖像に取り込まれました。9名の亡命した楽団員のトラウマや功績もマイヤホーファー女史の伝記的描写では主題として扱われています。
フリッツ・トリュンピ博士は、ウィーン・フィルの第一次世界大戦からの政治活動の概要を明らかにし、それがどのように第一共和国において、そしてオーストロ・ファシズムにおいて発展したかということについて分析しました。とりわけナチ政権とナチ党員であった2名の楽団長の間の相互作用について精査しました。新資料に基づき、ウィーン・フィルの協会としての歴史に関する研究も発表しています。さらに、ウィーン・フィルのレパートリーの政治的な解釈を試み、国家社会主義におけるウィーン・フィルのマスメディアにおけるあり方を研究しています。
オリバー・ラートコルプ教授は新資料に基づき多数のユダヤ人の寄付者および聴衆グループを除外・除名したことによる結果を分析しています。二つ目の研究分野は、例えばアルトゥル・ザイス＝インクヴァルトやバルドゥール・フォン・シーラッハ等のナチ党の指導層に対する数々の表彰に関するものです。さらに、ニューイヤーコンサートの始まりの歴史についても触れています。また、旧ナチ党員の追放における目標と実行に関する章では、ウィーン・フィルの人員における、また活動の内容における連続性に関する問いを精査していますが、いずれにおいてもナチ時代の前の時代まで遡及しています。123名のウィーン・フィルハーモニー協会の会員のうち計60名がナチ党員あるいはナチ党員の有力候補者（そのうち2名がナチの親衛隊）でした。1945年以降、4名の楽団員が即刻解雇され、6名が引退しましたが、そのうちの2名は後に再び国立歌劇場管弦楽団およびウィーン・フィルハーモニー協会に入団、加入を許されました。
The Politicization Process of the Vienna Philharmonic from World War I until 1945
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Surge in Politicization during World War I
During the First World War, the orchestra saw itself confronted for the first time with diverse politically motivated attempts at exploitation, some of which it tried to resist, others which it supported and promoted.
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The First Republic and Austrofascism: Enhancing References to Vienna as the “City of Music“ and Strengthening Internal Authoritarian Structures
Unlike the time before World War I, when musical events were primarily initiated by private committees, there was a considerable degree of politicization after 1919.
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An Association Based on National Socialist Principles
Having been spared disbandment, the Association was charged with implementing far-reaching changes in its statutes: important personnel decisions now required the consent of the Reich Propaganda Ministry and later that of the Reichsstatthalter in Vienna.
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Increased References to Vienna in the Vienna Philharmonic's Media Presence under the National Socialist Regime
The Vienna Philharmonic has always had a multifaceted media presence. It remained at a steady high under the National Socialist regime.
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The Repertoire of the Vienna Philharmonic in the Nazi Era
The Vienna Philharmonic’s concert performance during National Socialism was marked by a high degree of continuity in terms of its repertoire – but only concerning the subscription concerts.
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From the Johann Strauss Concert in 1939 to the New Year's Concert in 1946
[...] the tradition of New Year's concerts given by the Vienna Philharmonic with works by Johann Strauss, broadcast on the radio and later on television, dates back to the National Socialist era [...]
Expulsion and Murder of Vienna Philharmonic Musicians after 1938
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Expulsion and Murder of Vienna Philharmonic Musicians after 1938
Thirteen active musicians were expelled from the Vienna State Opera Orchestra and the Vienna Philharmonic in 1938. Three additional musicians who were already in retirement also became victims of the holocaust.
Deportation and Murder
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Persecution and Murder of Members of the Vienna Philharmonic
A total of five members of the Philharmonic were killed in the course of racist cleansings. One member of the Philharmonic died as a result of the eviction from his apartment, and another died in Vienna before his impending deportation.
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Moriz Glattauer (Violin I)
On July 14, 1942, Moriz Glattauer, a retired first violinist with the Vienna Philharmonic, was deported to Theresienstadt along with his wife, Anna Schidlof Glattauer.
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Viktor Robitsek (Violin II)
After 35 years of service in the Vienna State Opera Orchestra and Vienna Philharmonic, Viktor Robitsek received notice from the management of the State Opera informing him of his compulsory suspension.
Download PDF from Bernadette Mayrhofer
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Max Starkmann (Violin I, Viola)
... on October 5, 1942, Max und Elsa Starkmann were forced under the most demeaning of conditions to board a train as part of a mass transport to Maly Trostinec (about 18 km from Minsk).
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Julius Stwertka (Concertmaster, Solo Violinist)
Julius Stwertka was recruited from Hamburg as concertmaster by Gustav Mahler and was engaged for this position with the Vienna State Opera Orchestra and Vienna Philharmonic from 1902-1936.
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Armin Tyroler (Oboe II)
“It has always been my aim to lighten the struggle for existence faced by my less fortunate colleagues and to make their lives more bearable. There is no more to it than that."
'Died in Vienna'
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Paul Fischer (Violin I, Section Leader)
Paul Fischer had played first violin for 39 years with the Vienna State Opera Orchestra and the Vienna Philharmonic. Additionally he was a long time member of the internationally renowned Rosé Quartet.
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Anton Weiss (Violin I, Section Leader)
Anton Weiss was a victim of the brutal expulsion policies of the National Socialists; and this even before the systematic mass murder of the Jewish population had begun.
Vienna Philharmonic Musicians in Exile
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Vienna Philharmonic Musicians in Exile
Nine members of the Vienna Philharmonic managed to flee into exile.
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Hugo Burghauser (Bassoon I, Chairman)
[...] and of your former students no one apart from Hugo Burghauser, the poor man, who is so utterly lost on the asphalt of Manhattan ...
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Friedrich Siegfried Buxbaum (Principal Cellist)
Friedrich Buxbaum, who had held the exposed position of principal cellist, was expelled from the orchestral association immediately after Austria’s annexation to Nazi Germany.
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Daniel Falk (Violin II)
"Since leaving Vienna I have experienced years of wandering and the tragic fate of losing my entire family - mother, brothers and all other relatives - in the concentration camps and gas chambers, as well as years of becoming acquainted with a highly interesting new country."
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Leopold Othmar Föderl (Violin II)
However, Föderl’s expectations were soon to be shattered: In the summer of 1948, he received a second letter from Salmhofer feigning false kindness that affronted him.
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Josef Geringer (Violin I)
Josef Geringer was among the most impressive musicians of the Vienna Philharmonic in terms of his artistic qualities.
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Ricardo Odnoposoff (Violin I, Concertmaster)
„[...] he established himself as one of the outstanding violinists of the day. The Argentine artist, who came here virtually unknown to the general public, took his audience by storm by the virtuosity, power and fire of his performance. [...]" New York Times.
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Arnold Rosé (Concertmaster, Violin I, Viola soloist)
„As you correctly assume, after 57 years in the opera, 56 years with the quartet and 44 years in the Hofmusikkapelle I have now disappeared into retirement without further ado."
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Berthold Salander (Violin II)
For Berthold Salander it was like the end of the world when he was, virtually by force, driven from the orchestra. At 51 years of age, he was suddenly excluded from his familiar and very successful professional life.
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Ludwig Wittels (Violin I)
Wittels was able to save himself physically, but he was permanently traumatized by his experience of persecution and the murder of his mother: "He spoke about it over and over again. It ate him up inside all these years. He took it with him to bed at night and got up with it in the morning."
- Impending Expulsion of Those Declared in Nazi Terminology as "Closely Related" (Versippte), "Half-breeds" (Mischlinge) and Foreigners Lacking a "Certificate of Aryan Descent" (Ariernachweis)
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The Vienna Philharmonic’s “Cancelled“ Subscription Audience
In the course of his research, the author of this article, together with the Vienna Philharmonic’s archivist, found a handwritten register of accounts in a basement storeroom of the Vienna State Opera which is used today as a sheet music archive.
Observations on Nazification and Denazification
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From the Organization Cell Group State Opera to the Managing Comittee
The core group of NSDAP sympathisers in the Vienna Philharmonic had in 1931/32 already organized themselves in the framework of the NSBO – the NS Organization Cell Group State Opera.
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Honours and Awards (Honorary Members, Rings of Honour, the Nicolai Medal and the “Yellow” List)
A compilation of the bearers of rings of honour was produced in preparation for the Vienna Philharmonic's centennial celebrations. It cannot currently be reconstructed when exactly the first rings were awarded.
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Denazification and the Long Shadow of the Past in the 1950s and 1960s
The most distinctive example of the insurmountable conflict of priorities in cultural denazification – namely the demand of artistic performance while simultaneously eliminating National Socialist thought by rigorous personnel cleansing – was represented by the political classification of a collective orchestra such as the Vienna Philharmonic.
Post-war period
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Ambivalente Loyalitäten: Beziehungsnetzwerke der Wiener Philharmoniker zwischen Nationalsozialismus und Nachkriegszeit
Dieser Aufsatz beleuchtet Beziehungsnetzwerke, Interessenverflechtungen, kulturelle und politische Positionen und Projekte der Wiener Philharmoniker im Kontext der Wiener Kulturpolitik zwischen 1938 und 1945.
Today
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The Historical Archives of the Vienna Philharmonic
An extensive collection of programmes and a concert database are at the heart of the historical archives.
