Why were the Nazis in Arthur Miller's Playing for Time so obsessed with Germanic and European music? It may have to do with the nature of Nazi ideology itself.
By: Coach Ken
(Source: CBS Photo Archive/Getty Images)
Nazi's obsession with Germanic and European Classical music in real history
The Nazi ideology is not one of mere racism and eugenics, but a problem of supreme self-indulgence in the German's perceived cultural, racial and ontological superiority. It can be argued that the Nazis were not only elevating their existential superiority in terms of race, but also through their Eurocentric culture, framed as supremely sophisticated and elegant.
As such, Germanic and European Classical music were prized and heralded as symbols of German civilisation and sophistication: Hitler weaponised the rich European and German musical heritage and tradition to peddle a narrative of Aryan superiority.
His ideas concerning music and art shaped the cultural atmosphere and political policies for Germany. This discriminating exclusivity is seen in how all compositions written by Jews or by those persons suspected of being sympathisers were banned and labelled as "degenerate". It became unlawful for artists and musicians to perform in public without being first a member of the state sanctioned Reichsmusikkammer (Reich Music Chamber or RMK). Anyone who defied the law was arrested.
Nazi's obsession with Germanic and European Classical music as portrayed in Playing for Time
Let's consider a few quotes from Arthur Miller's Playing for Time, Nick Hern Books edition.
“Do you know any German music?” (Page 14)
"You must learn to sing German songs” (Page 32)
In these quotes, we can see the camp commandants and authorities question Fania on her musical abilities, and unsurprisingly, they bear an uncanny resemblance: Their questions are framed in relation to German music. Through this pattern of seemingly innocuous questions, it is quite telling of the Nazi's inclinations and tastes for music: Strictly German and strictly classical.
With reference to the contextual ideas established earlier in the blog, the implication of these quotes then, is that German music functions or expresses a form of German ultranationalist pride. It is an expression of aesthetic and artistic elitism, where musical genres of all other origins are not valued or even, disregarded.
This is further emphasised when the audience considers that all musical pieces played in the presence of the Nazi authorities in the play are distinctly European/German in origin. All other genres of music, such as the American traditional pop title, The Man I Love, is only consumed within the orchestra itself, away from the stifling impositions of Nazi rule and rhetoric of cultural superiority.
Music thus, functions as an instrument of imposing the Nazi's self-ascribed superiority not only in Playing for Time, but in real world history.
But is music inherently divisive? Not quite! It is the poisonous Nazi ideology that distorts music into a tool of oppression.
As Alma wraps up her beautiful solo that unites all of the orchestra at the end of Act One, this unity created by Alma's music is immediately dissolved with the intrusion of Frau Schmidt and the kapos, enforcers of Nazi rule and racial oppression.
“Jews to the left. Aryans to the right!” (Page 42)
"[the groups make an empty space between them]” (Page 42)
Here, the collective unity achieved through music “[All are captivated, subdued, filled with awe]” is disrupted by the physical/racial separation represented by the physical space, “[the groups make an empty space between them]”. This disruption is caused by Frau Schmidt, “Jews to the left. Aryans to the right!”, who is a representation and active enforcer of Nazi ideology and racial segregation. Interpreted on a symbolic level, the audience can see that music embodies a potential to unite people across all social identities and categorisations, but its unifying potential is ruined by the Nazi's divisive ideologies and practices.
