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Music and International History in the Twentieth Century
Explorations in Culture and International History Series
General Editor: Jessica C. E. Gienow-Hecht

In the last two decades, an increasing number of scholars in the United

States and in Europe have introduced culture into the historical study
of international relations. They believed that this important dimension
was missing from international relations. While some senior schol-
ars have played significant roles, the bulk of the work has come from
younger scholars who have brought insights from other disciplines to
the study of international history. This series aims at presenting some
of this innovative work, with the first volume setting the scene.

Volume 1
Culture and International History
Edited by Jessica C. E. Gienow-Hecht and Frank Schumacher

Volume 2
Remaking France
Brian Angus McKenzie

Volume 3
Anti-Americanism in Latin America and the Caribbean
Edited by Allan McPherson

Volume 4
Decentering America
Edited by Jessica C. E. Gienow-Hecht

Volume 5
Practicing Public Diplomacy
Yale Richmond

Volume 6
Searching for a Cultural Diplomacy
Edited by Jessica C. E. Gienow-Hecht and Mark C. Donfried

Volume 7
Music and International History in the Twentieth Century
Edited by Jessica C. E. Gienow-Hecht
MUSIC AND INTERNATIONAL HISTORY
IN THE TWENTIETH CENTURY

Edited by
Jessica C. E. Gienow-Hecht

berghahn
NEW YORK • OXFORD
www.berghahnbooks.com
 Published by
Berghahn Books
www.berghahnbooks.com

©2015 Jessica C. E. Gienow-Hecht

All rights reserved. Except for the quotation of short passages

for the purposes of criticism and review, no part of this book
may be reproduced in any form or by any means, electronic or
mechanical, including photocopying, recording, or any information
storage and retrieval system now known or to be invented,
without written permission of the publisher.

Library of Congress Cataloging-in-Publication Data

Music and international history in the twentieth century / edited by
Jessica C. E. Gienow-Hecht.
pages cm. — (Explorations in culture and international history
series ; v. 7)
Includes bibliographical references and index.
ISBN 978-1-78238-500-4 (hardback : alk. paper) —
ISBN 978-1-78238-501-1 (ebook)
1. Music—Political aspects—History—20th century. 2. Music and
diplomacy. 3. Music and state. I. Gienow-Hecht, Jessica C. E., 1964–
ML3916.M8725 2014
7809’.04—dc23
2014033532

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Printed on acid-free paper

ISBN: 978-1-78238-500-4 hardback

ISBN: 978-1-78238-501-1 ebook
CONTENTS

List of Illustrations vii

Acknowledgments ix
Notes on Contributors xi
Introduction
Sonic History, or Why Music Matters in International History 1
Jessica C. E. Gienow-Hecht

I. Music, International Relations, and the Absence of the State

Chapter 1
The Wicked Barrisons 33
David Monod
Chapter 2
The International Society for Contemporary Music and
Its Political Context (Prague, 1935) 58
Anne C. Shreffler

II. Music, International History, and the State

Chapter 3
Music and International Relations in Occupied Germany,
1945–49 93
Toby Thacker
Chapter 4
Instruments of Diplomacy: Writing Music into the History
of Cold War International Relations 118
Danielle Fosler-Lussier
vi Contents

Chapter 5
“To Reach … into the Hearts and Minds of Our Friends”:
The United States’ Symphonic Tours and the Cold War 140
Jonathan Rosenberg
Chapter 6
Music Diplomacy in an Emergency: Eisenhower’s
“Secret Weapon,” Iceland, 1954–59 166
Emily Abrams Ansari
Chapter 7
Intimate Histories of the Musical Cold War: Fred Prieberg
and Igor Blazhkov’s Unofficial Diplomacy 189
Peter J. Schmelz
Chapter 8
“Where I Cannot Roam, My Song Will Take Wing”:
Polish Cultural Promotion in Belarus, 1988 226
Andrea F. Bohlman

Index 256
ILLUSTRATIONS

Figures

Figure 1.1. The four youngest Barrisons, Sophie, Inger, Olga,

and Gertrude, ca. 1890. Source: New York Public Library,
Billy Rose Theatre Collection, Barrison Sisters’ Clipping File. 38
Figure 1.2. Henri de Toulouse-Lautrec, Lona Barrison avec
son manager et epoux, 1900. The horse is Maestoso.
Source: Brooklyn Museum Collection. 41
Figure 1.3. The five Barrison Sisters as they would have
appeared at the height of their notoriety, 1896.
Source: New York Public Library, Billy Rose Theatre
Collection, Barrison Sisters’ Clipping File. 43
Figure 1.4. A German postcard produced by F. Schüler,
Berlin, with the caption, “Hexenzug—Walpurgisnacht.”
Although the Barrison Sisters are not identified as the
witches, the five figures clearly associate them with
decadence and debauchery. Source: F. Schüler, Berlin
N.W.6. and Meisenbach Riffarth & Co., Leipzig, 1902. 47
Figure 2.1. The program of the ISCM Festival in Prague,
1935, on the cover of the Austrian music journal Anbruch 17,
no. 8 (1935). Source: Eda Kuhn Loeb Music Library, Harvard
University. 63
Figure 2.2. Anton Webern, Concerto for Nine Instruments,
op. 24, beginning of the first movement. Used by permission
of European American Music Distributors Company, United
States, and Canadian agent for Universal Edition, Vienna. 67
Figure 2.3. The first issue of the short-lived music journal
Musica Viva (1936), p. 1. Source: Eda Kuhn Loeb Music
Library, Harvard University. 79
viii Illustrations

Figure 5.1. Leonard Bernstein with a group of Peruvian

musicians on the 1958 tour to Latin America. Source: New
York Philharmonic Leon Levy Digital Archive. 153
Figure 5.2. Leonard Bernstein, stopping for a shoe shine,
frolics with a group of children in Lima, Peru, on the 1958
Latin American tour. Source: New York Philharmonic Leon
Levy Digital Archive. 155
Figure 5.3. Leonard Bernstein speaking with Vice President
Richard Nixon on the 1958 Latin American tour. Source: New
York Philharmonic Leon Levy Digital Archive. 156
Figure 6.1. Sergeant Haddix and Miss Iceland. Source:
Demaree Bess, “Uncle Sam’s Reluctant Ally,” Saturday
Evening Post, 29 December 1956. 171
Figure 6.2. The fence at Keflavík. Source: Demaree Bess,
“Uncle Sam’s Reluctant Ally,” Saturday Evening Post, 29
December 1956. 172
Figure 6.3. Boston Symphony Orchestra musicians en
route to Iceland, 1956. Roger Voisin (trumpet), Ralph Pottle
(horn), and Arthur Kerr (trombone). Photographer unknown.
Source: Boston Symphony Orchestra Archives. 174
Figure 7.1. Fred Prieberg. Photographer unknown.
Source: public domain. 195
Figure 7.2. Galina Mokreeva. Source: Igor Blazhkov; date
unknown. 201
Figure 7.3. Igor Blazkhov and Valentin Silvestrov, 1975.
Source: Larisa Bondarenko. 213

Tables

Table 6.1. NSC 5426, Statement of Policy on Iceland: Courses

of action (abbreviated from original). Source: Draft Statement
of Policy proposed by the National Security Council on
Iceland, NSC 5426, 12 July 1954, White House Office, NSC Staff,
Papers, 1948–61, Disaster Series, Box 49, Iceland (1), EPL. 173
Table 8.1. The Distribution of Power in the Central
Committee of the PZPR (1981–85). 230
Table 8.2. Musical associations receiving funds from the
PZPR in 1983. 231
Acknowledgments

This book represents a symphony of efforts on the part of many

people, and it is a great pleasure for me to thank them all. First,
I should like to thank our publisher, Marion Berghahn, who has
supported and believed in this series, Explorations in Culture and
International History, since its inception twelve years ago. Next, I
would like to express my personal ode to joy in gratitude to the con-
tributors of this book, historians and musicologists alike who truly
strove and worked hard to bridge the gap between two disciplines
in order to seek a dialogue between both fields (rather than pay-
ing lip service to this endeavor). I know that harsh criticism from
outside as well as scholastic disagreements on both sides of the
disciplinary divide may have rendered writing and rewriting indi-
vidual chapters an occasionally onerous and frustrating task. Thank
you for your intellectual rigor, for your patience—and for hanging
in there! Third, I wish to thank the two anonymous reviewers from
Berghahn Books, whose nuanced criticism was a treasure of inspi-
ration for our ideas. While one’s uncommon tone raised eyebrows
among the contributors, both reviewers ultimately made this a
much better book. Thank you to Wayne Moquin for compiling the
index and to the stellar team of editors at Berghahn Books: Adam
Capitano, Elizabeth Berg, and Caitlin Mahon.
Over the years, I have had the great fortune to work with a num-
ber of young master’s and doctoral candidates who gave far more to
their respective institutes than time and “Dienst nach Vorschrift”;
some of them played a vital role in the making of this book. Thank
you to Carolin Viktorin, Jochen Molitor, and Marcel Will for their
organizational support in the initial stage of this project; to Annika
Estner for her tenacity in formatting and synchronizing the layout of
the manuscript; to Tilman Pietz and Matthias Kreßner for being my
assistants in Cologne; and to Alyn Euritt in Berlin for proofreading
x Acknowledgments

the full manuscript. You all deserve praise for your inspiration, your
help, your upbeat spirit, and, most importantly, for forming a great
team over the course of several years.
Thank you all for making this book sing!

Jessica C. E. Gienow-Hecht
Berlin, February 2015
CONTRIBUTORS

EMILY ABRAMS ANSARI is Assistant Professor of Music History at the

University of Western Ontario in Canada. She received her PhD from
Harvard University in 2010. Her research examines issues of national
identity and politics as they pertain to music in the United States.
Her current book project considers the effect of the Cold War on
US musical nationalism through a study of composers’ participa-
tion in government-funded cultural diplomacy, a topic on which she
has also published articles in the Journal of the Society for American
Music and Diplomatic History.

ANDREA F. BOHLMAN is Assistant Professor of Music at the University

of North Carolina, Chapel Hill, and received her PhD in music from
Harvard University. Her work concerns the music history of the re-
cent past, in particular the musical cultures of East-Central Europe.
A monograph in preparation is a study of the interaction between
political action and music in Poland in the late twentieth century.
She has also worked extensively on the composer Hanns Eisler and
popular music in Europe, in particular the Eurovision Song Con-
test. Her current research addresses the history of sound media
in twentieth-century Poland and engages economies of amateur
music worlds, the persistence of “old” media such as magnetic tape
and radio, and audiovisual documentary practices. She previously
taught at the University of Pennsylvania as a Mellon Postdoctoral
Teaching Fellow in Music.

DANIELLE FOSLER-LUSSIER is Associate Professor of Musicology at the

Ohio State University. She is the author of a book entitled Music Di-
vided: Bartók’s Legacy in Cold War Culture (University of California
Press, 2007) and a forthcoming book that describes musical perfor-
mances sponsored by the US Department of State during the Cold
xii Contributors

War. Fosler-Lussier’s research on music and politics in Eastern and

Western Europe and the United States has been supported by fel-
lowships from the National Endowment for the Humanities, the
American Council of Learned Societies, the Mershon Center for In-
ternational Security Studies, the American Musicological Society,
and the International Research and Exchanges Board.

JESSICA C. E. GIENOW-HECHT is Chair of the Division of History at the

John F. Kennedy Institute for North American Studies at the Free Uni-
versity Berlin. She is the series editor of Explorations in Culture and
International History (Berghahn Books, since 2003); her monograph
Transmission Impossible: American Journalism as Cultural Diplomacy
in Postwar Germany (hardback and paperback 1999) won both the
Stuart Bernath Prize as well as the Myrna Bernath Prize of the So-
ciety for Historians of American Foreign Relations. Her most recent
monograph, Sound Diplomacy: Music and Emotions in Transatlantic
Relations, 1850–1920 (2009, paperback 2012) won the Choice Out-
standing Academic Title Award and is currently being translated into
Chinese.

DAVID MONOD teaches history at Wilfrid Laurier University in Water-

loo, Ontario. He is the author of Settling Scores: German Music, De-
nazification, and the Americans, 1945–1953 (2005). Monod writes on
American cultural history and has recently completed a book man-
uscript on the development of theatrical entertainments in the nine-
teenth century. He is currently researching a book on vaudeville.

JONATHAN ROSENBERG teaches US history at Hunter College and the

Graduate Center of the City University of New York. His research
focuses on the history of the United States in a global context. His
current project, From the New World: International Politics and Clas-
sical Music in Twentieth-Century America, examines how classical
musicians, composers, and performing organizations in the United
States understood and responded to international developments
from World War I to the Cold War. Rosenberg is the author of How
Far the Promised Land? World Affairs and the American Civil Rights
Movement from the First World War to Vietnam (Princeton University
Press, 2006). He is the coauthor of Kennedy, Johnson, and the Quest
for Justice: The Civil Rights Tapes (Norton, 2003), and he coedited
Cold War Statesmen Confront the Bomb: Nuclear Diplomacy Since 1945
(Oxford University Press, 1999). In addition to contributing articles
and reviews to a variety of scholarly publications, Rosenberg has
 Contributors xiii

written for the Christian Science Monitor, the Wilson Quarterly, and
the Washington Post.

PETER J. SCHMELZ is Associate Professor of Musicology and Chair of

the Music Department at Washington University in St. Louis. He is
currently completing a book on polystylism as cultural practice in
the late USSR, focusing on the music of Alfred Schnittke and Valen-
tin Silvestrov. He received a National Endowment for the Humanities
Fellowship in 2011, and his first book, Such Freedom, If Only Musi-
cal: Unofficial Soviet Music during the Thaw (Oxford University Press,
2009), received an ASCAP Deems Taylor Award in 2010.

ANNE C. SHREFFLER is the James Edward Ditson Professor of Music at

Harvard University, having served as Professor of Musicology at the
Universität Basel in Switzerland from 1994 to 2003. Her current work
focuses on the twentieth-century musical avant-garde in Europe and
the United States, with special emphasis on the political and ideo-
logical associations of new music. Her most recent book, coauthored
with Felix Meyer, is Elliott Carter: A Centennial Portrait in Letters and
Documents. Awards include the Alfred Einstein Award of the Ameri-
can Musicological Society and a Guggenheim Fellowship.

TOBY THACKER is a Senior Lecturer in Modern European History at

Cardiff University. His book Music after Hitler, 1945–1955 (Ashgate,
2007) explored the development of music in occupied Germany after
World War II and in the early years of a divided Germany after 1949.
He has also written The End of the Third Reich: Defeat, Denazifica-
tion, and Nuremberg, January 1944–November 1946 (Tempus, 2006)
and Joseph Goebbels: Life and Death (Palgrave Macmillan, 2009). He
is currently working on a study of British culture and the memory of
World War I.
INTRODUCTION
Sonic History, or Why Music Matters
in International History
Jessica C. E. Gienow-Hecht

Call it Audiogeschichte, histoire du son, or “sonic history.” 1

Histori-
ans of international relations have recently become quite fascinated
with the history of sound and music, and the acoustic turn is well
on its way to becoming the “next big thing.” For both historiographi-
cal and historical reasons, this development should come as no sur-
prise. First, the history of sound is the business of musicology, and
many musicologists have been doing that kind of “international” his-
tory in one way or another for more than sixty years. Second, since
the 1980s and 1990s, music and political history have gone through a
period of rapprochement that was controversial at the time in some
circles but has now been accepted as one of the ways in which mu-
sicologists work. Third, and most importantly, universal attitudes
embedded in the liaison between music and internationalism have
historically been used to divorce aesthetics from political realities,
with sometimes negative consequences (take, for example, Schopen-
hauer, Pfitzner, and Palestrina). Moreover, statements like these can
be read in different ways, either as poetical romantic expressions of
belief in the power of music as an expressive but nonverbal art form,
or as suggesting a literal cure for the woes of international relations.
But either way, they reflect the typical nineteenth-century belief in
music as a remedy for any number of conflicts, ranging from domes-
tic violence to battlefield slaughter. The fact that in tandem with he-

Notes for this section begin on page 20.

2 Jessica C. E. Gienow-Hecht

gemonic tensions and military conflicts in Europe, civil war in the

Balkans and Americas, colonial uprisings in Asia, and numerous in-
ternational interventions (mostly in the Ottoman Empire) Western
contemporaries cited music as a political remedy should catch our
attention.
This book reflects the attempt to introduce students and schol-
ars interested in the study of international history to the study of
music as a useful tool and category of analysis. The contributors of
this volume argue that music can be used as a measuring stick for
the quantity as well as for the quality of an international relation.
Music may reflect a relation when other ties are severed, it can help
us to understand the nature of a relation operating on different lev-
els, and it can introduce us to an entirely new dimension of what we
deem an “international relation.”
On the following pages, I will review the existing literature ded-
icated to music and international history, arguing that up to this
point, musicologists have done far more for the advancement of our
understanding of music as a force in international history than histo-
rians of international relations. Next, I shall outline the stories, strat-
egies, and standpoints presented in this book. Five observations
at the end of this chapter shall serve to define the most important
methodological and historical findings of this book, along with rec-
ommendations for future research.

Musicology and History

Musicologists have long pondered the history of music. Working

with material such as written sources (scores, reviews, memoirs)
and approaches such as textual criticism, musical analysis, philol-
ogy, and others, musicologists investigate, for example, a specific
composer, the genesis of musical styles (for example, jazz), music’s
social function in a given period, and the varieties of musical per-
formances in a given location at a particular time. Scholarly results
can encompass edited volumes documenting and commenting on
scores (often including the development of a piece over time), biog-
raphies of one composer or a group of composers, discussions on
the function of music in a specific society (such as a social class, a
region, or a nation), and the interplay of musical styles, texts, and
harmonies over time. Music history in this sense is closely wedded
to the production, performance, reception, and criticism of music.
The closely related field of ethnomusicology concentrates on music
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