'Salzburg hört Hitler atmen'. Die Salzburger Festspiele 1933â1944 by Andreas NovakDie Akte Leopoldskron. Max Reinhardt, das Schloss. Arisierung und Restitution by Johannes Hofinger
2006; Modern Humanities Research Association; Volume: 14; Issue: 1 Linguagem: Inglês
10.1353/aus.2006.0004
ISSN2222-4262
Autores ResumoAUSTRIAN STUDIES, I4, 20 6 367 marketing of translations were of crucial importance. The letters also reveal fascinating details of the networking upon which a publishing career in exile depended, as ismost vividly clear from Roth's suggested distribution list forDer Antichrist (1934), a who's who ofGerman-language literature and journalism in exile (pp. 174-79). Roth's letters document his struggle to balance his personal standards as awriter ('Sie wissen, da? ich nicht schlampig arbeiten kann', p. 209) with the need simply tomake ends meet ('Es istaber im ?brigen vollkommen gleichg?ltig ? wenigstens mir ? ob unsere B?cher gut sind oder schlecht', p. 277). Throughout, they reflect his characteristic irascibility, self-mythologizing and ill-tempered humour, and are full of intriguing, sometimes amusing detail, including eccentric lists of 'prophecies' in the letters to Landshoff, references to completed novellas that the editors are unable to identify and in the final, touching letters to Landauer the conviction, clearly shared by both men, that with Die Legende vom heiligen Dinker Roth had once again, against the odds, produced something quite 'gl?nzend' (p. 296). The volume does not, perhaps, demand a fundamental reassessment of Roth's writing in exile, nor of his biography; many of the letters in factmake more sense when read alongside those to friends? in particular to Zweig ? in the 1970 volume. Nevertheless, this beautifully presented and meticulously edited volume enriches our understanding not just of Joseph Roth's life and work but of exile writing in general. A final observation: by presenting somany of his letters for the first time, the volume also stands as a fitting tribute to the remarkable patience, sensitivity and dedication ofWalter Landauer, to whose work at Allert de Lange not just Roth but German literature in general owes much. He died in 1944, even younger than Roth, inBergen-Belsen. Royal Holloway, University of London Jon Hughes 'Salzburg h?rt Hitler atmen'. Die Salzburger Festspiele 1933-1944. By Andreas Novak. Munich: Deutsche Verlags-Anstalt. 2005. 416 pp. 29,90. isbn 3-421-05883-0. Die Akte Leopoldshron. Max Reinhardt, das Schloss. A?sierung und Restitution. By Johannes Hofinger. Salzburg and Munich: Pustet. 2005. 189 pp. 25,00. isbn 3-7025-0509-1. 'Reinhardt zum Pr?sidenten nehmen diese Spie?b?rger nie: sie hassen ihn, hassen ihn drei- und vierfach, als Juden, als Schlo?herrn, als K?nstler und einsamen scheuen Menschen, den sie nicht begreifen.' This quotation from a letter of Hugo von Hofmannsthal to Richard Strauss (4 September 1922) is cited in both the books under review, and the spirit ofMax Reinhardt, probably the greatest man of theatre of the twentieth century, dominates both, as does themalign influence ofNational Socialism and all that it stood for. Andreas Novak is a television producer for ?RF who has made over thirty documentaries and won the prestigious 'Karl Renner-Publizistikpreis' in 2000. Much of the research for his book was carried out in the Salzburg Festival archives, and he pays a well-deserved tribute to the archivist Gisela Prossnitz, 368 Reviews who, with Edda Fuhrich, has written a thorough and detailed history of the Festival up to 1945 {Die Salzburger Festspiele, vol. 1: 1920-1945 [1990]). Those interested solely inwhat was produced at Salzburg between 1933 and 1945 may question whether another history isneeded. The answer for them isprobably no (JosefKaut's Festspiele inSalzburg [1970] also provides detailed cast listsfor every performance up to 1969), but for those interested in thewartime careers of the leading conductors and ofGerman opera singers, actors and producers, Novak's fascinating book provides a mixture of enjoyment, distaste and information, sparing the reading of many biographies and providing insights into National Socialist cultural policies. After a brief examination of what the Salzburg Festival stood for when founded by the triumvirate of Reinhardt, Hofmannsthal and Strauss, we encounter, as the heading forChapter Two, the quotation that provides the title for the book. It comes from the French writer Fran?ois Mauriac, who visited the Festival in 1934. The impact in that year of both the 'Tausend-Mark-Sperre' and the pressure put on Germans not to perform at Salzburg provides the basis for a survey of changes that had to...
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