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In many ways, Klemperer embodied the tragedy of the German-Jewish symbiosis. In his role as director of the Kroll Opera, he had premiered major works by such composers as Stravinsky, Janácek, and Hindemith; by pioneering new styles of performance, he had also become an object of hate for reactionaries, called by the Nazis “ Obermusikjude”: “chief music Jew.” Yet, in 1946, Klemperer was the first great emigré to return to Germany after the war, a model of magnanimity, seeking, as he said then, “to heal the wounds made by this terrible time.” is nothing naive in it except, perhaps, the author's burning faith in Germany and German Kultur. This faith of his survived some very bad moments during the Third Reich. Only toward the very end was it beginning to shake like teeth Ewig ("Eternal") E.gr.: der ewige Jude ( the eternal Jew); das ewige Deutschland (the eternal Germany) I spent a day in Dresden recently, walking up the road to the village of Dolzschen, where Klemperer and his wife had built their little house in 1934 and to which they returned to live after the liberation. The house still has its "gable" in
More than 50 years after the terrible air bombardment that killed 135,000 people -- and saved Klemperer's life -- many scars and wounds endure. As I turned the corner into the wide Pragerstrasse, I ran into 100 or so men and women, mostly young,progress. There are vivid accounts of events he witnesses, conversations he overhears and many character studies of victims and victimizers, fanatics and opportunists of all sorts.
well at night. His nightmares start when he wakes up. He expects to be deported at any moment. He occasionally scavenges the garbage for food. A few elderly people, seeing the Judenstern on his coat, come up in the dark and silently shake the Distinguished Service Medal he had won in World War I, he confessed: "I myself have had too much nationalism in me and I am now being punished for it." In 1938 he felt chastised by the recent Nuremberg racial laws and yet,
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to Lenin's deathbed. All five converted as young men to the Lutheran faith, not necessarily because they were true believers but because it was the leading national religion. The conductor Otto Klemperer was their cousin. As modern historians and literary critics once again turn to Klemperer for context, their motivations have shifted. Whereas Klemperer was thought to peer through a 20th-century microscope, he now holds up a transgenerational mirror. According to the historian Benjamin Hett, author of The Death of Democracy: Hitler’s Rise to Power and the Downfall of the Weimer Republic , a growing fear has emerged recently that the years Klemperer chronicled are no longer historical apparitions. passing mood, every incident in what he called "the sheer fairy-tale horror" of life under the Nazi tyranny: "Observe, study, record everything that happens -- tomorrow it'll look different, tomorrow it will feel differently.
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