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Becoming a Brill Author. Publishing Ethics. Publishing Guides. General Open Access Information. For Authors. For Academic Societies. For Librarians. Research Funding. Open Access Pricing. Specialty Products. Catalogs, Flyers and Price Lists. Accessing Brill Products. Corporate Social Responsibility. Sales Contacts. Ordering from Brill. Editorial Contacts. Offices Worlwide. Course Adoption. Contact Form. While no trumpets sounded to mark the fall of the Nazi dictatorship, the first public performances were held just a few weeks after the end of the war on 8 May The Berlin Philharmonic gave its last concert in wartime Berlin, long since devastated by bombing raids, in mid-April ; its first performance in occupied Germany took place in the Titania-Palast, in the Berlin district of Steglitz, just eighteen days after the surrender.
One club after another opened its doors again. Improvisation was not only prevalent in the jazz and dance scene. This also applies to the music history literature on this period, not least because the occupying powers, above all the United States, went to great lengths to reform and democratize musical life.
These efforts were reflected in the denazification of prominent musicians, which was strictly pursued initially, and in the promotion of contemporary music. But the tenor of the scholarly literature is that they were largely in vain, at least in the high-cultural realm, which was the main focus of democratically minded music reformers. Resistance to their reformist zeal was motivated to a large degree by the politics of the past. In the long term, the casual dissemination of US-American popular music had a far greater cultural impact, not only in the kind of clubs and bars frequented by the occupiers in which James Last got his first engagement, but also via radio, which was initially under Allied control.
In view of these multiple cultural continuities, changes in the immediate post-war period seem more difficult to grasp. Once again, however, it depends where we direct our gaze.
Celia Applegate has pointed out that even the failure of American music policy had an impact. With reference to the resumption of the Bayreuth Festival in , she has argued that the focus on musical traditions by no means ruled out reformist developments. Building on this insight, rather than seeking to identify continuities and ruptures and weigh up their relative importance, the present chapter investigates the legacy of Nazi music policy in early West Germany and the ways in which musicians put it to productive use.