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disappeared.” Collusion of any kind was inconceivable. After a quartet concert in Berlin on April 1, which coincided with the first day of orchestrated attacks on Jewish-owned stores, Busch cancelled the rest of the quartet’s German tour. He left Germany, based himself in Basel and, at the outbreak of war, moved to the United States. Here he toured extensively with both the quartet and a chamber orchestra. With Serkin he established the Marlboro Music School. Although Busch is now known primarily as a violinist, in the 1920s his composing and performing careers were of equivalent importance. Adolf’s brother Fritz, the eminent European conductor who served as Glyndebourne’s first music director, premiered a number of his orchestral works, and his chamber music was integral to the Busch Quartet’s repertoire. Luminaries such as Hermann Scherchen, Wilhelm Furtwängler, Hermann Abendroth and Felix Weingartner all conducted his music, and in 1929, Toscanini and the New York Philharmonic performed his Mozart Variations for large orchestra, Op. 41, four times. Three major houses – Eulenburg, Breitkopf und Härtel and Simrock – published his works. Ironically Busch’s stand during the 1930s engendered a degree of hostility from those who had found expediency easier than adherence to principle. As Busch’s biographer Tully Potter describes it: “Busch did not endear himself to many of his compatriots by behaving well when they were disgracing themselves.” Indeed during and after the war, some Germans viewed Busch as a traitor. The conductor Herbert von Karajan on the other hand, who had joined the NDSAP twice – the first time in 1933 when the Jewish musical exodus had opened up a number of opportunities – was considered to have done little more than circumstances required. He was quickly rehabilitated. Adolf Busch’s legendary status as a violinist and chamber musician has overshadowed his parallel gifts as a composer, and his own music continues to languish in obscurity. His self-imposed exile meant that no particular country laid claim to him after the war, neither Germany, nor Switzerland nor the United States. After settling in Vermont, Busch himself made little effort to promote his own works, and the fact that he was neither Jewish, nor a victim of the Holocaust, nor a composer of “entartete Musik” (“degenerate music,” as the Reich described works of which it disapproved) has excluded him from 2 4 TWO <strong>ARC</strong> ENSEMBLE ROADS TO EXILE
the contemporary programs and series that spotlight these themes. The Sextet for Strings, Op. 40, was premiered in Bonn on September 25, 1928 and quite substantially revised in 1933. It has never been published and the manuscript remains in the collection of the BrüderBuschArchiv in Karlsruhe. It is an ebullient declaration of a master musician reveling in the creation of instrumental challenges, ingenious string sonorities and virtuosic counterpoint. Adolf Busch knew Walter Braunfels quite well and both had connections to the Cologne Hochschule für Musik. Busch had trained there (when it was the Cologne Conservatorium) and Braunfels was appointed its co-director in 1925. Like Busch he was a major figure in Germany’s musical landscape, with direct links to its august past. His mother Helene, née Spohr, was a pianist, a great-niece of the violinist and composer Louis Spohr, and a friend of both Liszt and Clara Schumann. The premiere of his opera Die Vögel (“The Birds”) in 1920 under Bruno Walter was followed by 50 performances in Munich alone, with further productions in Berlin, Vienna and Cologne. Walter also conducted his electrifying Te Deum (1922), which was presented close to 100 times. But by 1933 Braunfels’s career was over. WALTER BRAUNFELS As a half-Jew (although a practicing Catholic) he was stripped of his position at the Hochschule. Rather than emigrate, he made the dangerous decision to remain in Germany, eventually moving to the bucolic village of Überlingen on Lake Constance in the autumn of 1937. The following year his works were banned. Like many Jews, as well as halfor quarter-Jews, Braunfels was immobilized by his attachment to his homeland and overwhelmed by the prospect of having to re-invent himself abroad. Fortunately he 5 TWO ROADS TO EXILE
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Seite 3: A SENSE OF EXILE is not always acco
Seite 7 und 8: EXILDASEIN IST NICHT immer notwendi
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Seite 11 und 12: enorme praktische Komplexität des
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Seite 15 und 16: opéra basé sur le procès de Jean
Seite 17 und 18: ARC Artists of The Royal Conservato
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