Wilhelm Furtwängler, director of the Berlin Philharmonic Orchestra, was one of the most notable artists to remain in Germany during the Nazi era. To his detractors, Furtwängler was a valuable dupe for the Nazis at best and a willful, enthusiastic Nazi sympathizer at worst. Prieberg, who has written extensively on cultural life under the Nazis, has written a convincing if one-sided account of Furtwängler's activities, which leads to a far different conclusion. Prieberg sees his subject as a classic nineteenth-century conservative; while uncomfortable with the values and corrosive effects of modern capitalism, he was also appalled by the brutality and pandering to base emotions implicit in National Socialism. As Prieberg indicates, Furtwängler made clear but limited efforts to protect Jewish musicians, and he apparently resisted blatant efforts to use him as a cheerleader for "Nazi culture." Prieberg's vigorous defense of Furtwängler may balance scales that have been unfairly tipped. However, he fails to confront the deeper dilemma that all decent men of influence must grapple with under a monstrous tyranny; that is, just how much can we reasonably expect or demand of an individual in opposing that tyranny?
Prieberg, author of Music in the National Socialist State, investigates the renowned musician's uneasy position in Nazi Germany, revealing that Furtwangler was not a Nazi sympathizer, but rather, resisted efforts by the Third Reich to exploit him as a propaganda tool and used his influence to protect Jewish musicians and staff in his orchestra. Includes b&w photos. Annotation c. Book News, Inc., Portland, OR (booknews.com)
