Revisiting Composers Suppressed by the Nazis

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Revisiting Composers Suppressed by the Nazis
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Alex Ross travels to the Czech Republic to attend the Musica Non Grata series, which explored the glittering, elusive world of Alexander Zemlinsky.

In April, I went to Prague for the final installment of a four-year series called Musica Non Grata, which focussed on German-speaking Jewish composers who thrived in the First Czechoslovak Republic, between 1918 and 1938. The principal venue was the Prague State Opera, as the New German Theatre is now known. The German government provided support, memorializing the Germanophone culture that once flourished in Czech lands.

“A Florentine Tragedy” , which the Prague State Opera presented in a concert performance, is another Wilde adaptation: a deliciously nasty story of Renaissance revenge, in which a merchant renews his relationship with his unfaithful wife after killing her lover. To whip up erotic hurly-burly, Zemlinsky borrows heavily from Strauss’s “Salome,” but his refined techniques of motivic development hark back to Brahms.

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