Research into the enormous set of compositions grouped by the Nazis under the heading of degenerate music ('Entartete Musik') allows one to create a more differentiated landscape of the early decades of the twentieth century and the period 1933-1945, particularly in centres such as Vienna and Berlin, as well as to re-evaluate the prevalent ideas about the music of the first half of the twentieth century. Research, which until recently largely concentrated on issues relating to the second Viennese School of Arnold Schönberg, Anton Webern and Alban Berg, has been expanded in the last few years by analyses of the works of such composers as Franz Schreker, Alexander von Zemlinsky, Ernst Krenek, Karol Rathaus, Erich Wolfgang Korngold, Max Brand or Ernst Toch. The article examines the interactions between the influences of Franz Schreker and Arnold Schönberg - often regarded as being in opposite 'camps' - in the works and aesthetic of one of Schreker's pupils, Karol Rathaus (1895-1954).
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
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