Talk:Felix Woyrsch

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Effect of the Nazi's on his status?[edit]

Woyrsch's conservative, Brahmsian music would have been right up the alley of Hitler/Goebbel's ideal of art. Was this actually stated in a Reliable Source as an impact on his popularity, or did it merely coincide with the decline of his music in the repertoire? The Grove makes no mention of this, and there isn't any stated 'problem' with Woyrsch's ethnicity in terms of Nazi philosophy. Either way, needs a reference, and an explanation! 50.111.46.2 (talk) 09:09, 15 October 2021 (UTC)[reply]

UPDATE-Andreas Dreibrodt's informative liner notes on MDG's series of symphonies by the composer contradict the statement in the article, stating, "After 1945, antiromantic tendencies, ... with the phenomenon of New Music caused Woyrsch's oeuvre to fall into oblivion ..." - I am going to leave the unref'd statement up for a week - if no one validates it, I'll remove it and reflect Dreibrodt's statement. 50.111.46.2 (talk) 09:47, 15 October 2021 (UTC) (the unsigned-in HammerFilmFan)[reply]

I think it's important to keep in mind that Woyrsch was already 73 years old when the Nazis came to power, and I would think that his music was also not particularly suited to their agenda. Woyrsch's inactivity during the Nazi years is probably a sign of "inner emigration", if this source is to be believed. It may have something to do with the fact that Woyrsch was an apolitical but very religious man. Still, he did some rewards: a Goethe-Medaille for Art and Science in 1938, and the Beethoven Price of the Prussian Academy of Arts in 1938 (worth 10.000 Reichsmark). That would have been impossible had he been an outright opponent of the regime. That said, Fred Prieberg's extensive book on Music in Nazi Germany (Prieberg, Fred K. (1982). Musik im NS-Staat. Frankfurt am Main: Fischer) doesn't name him at all, and I find nothing that hints at a role of any significance. The article mentions how Woyrsch did not incorporate musical innovation, but that is not entirely true I think - it's just that he remained strictly tonal (although certainly not Brahmsian in later years). But his works after the Third Symphony become increasingly compact, even "spiky"; the Fifth and Sixth Symphonies are both around the twenty minute mark, and his orchestration is also quite lean. Finally, it's a misunderstanding to think that any Brahmsian (-ish) music would have been particularly en vogue among the national socialists; it could also be condemned as a product of "bourgeois decadence". Preferences tended to lean to earlier periods (<= Schumann) or to newer, albeit conservative forms (see the works of Paul Graener, Julius Weismann, Max Trapp, etc.). Not that they were particularly consistent, by the way: despite a condemnation of "sensualism", someone like Richard Strauss was still revered. --Ilja.nieuwland (talk) 08:11, 19 July 2022 (UTC)[reply]