Chuck Darwin<p>When German fascism came to power, it interrupted a revolutionary experiment in freedom exemplified by two classical composers: <br><a href="https://c.im/tags/Arnold" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Arnold</span></a> <a href="https://c.im/tags/Schoenberg" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Schoenberg</span></a> <br>and <a href="https://c.im/tags/Hanns" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Hanns</span></a> <a href="https://c.im/tags/Eisler" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Eisler</span></a>.</p><p>In 1938, just two months after the Anschluss annexed Austria to Nazi Germany, an exhibition entitled <a href="https://c.im/tags/Entartete" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Entartete</span></a> <a href="https://c.im/tags/Musik" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Musik</span></a>&nbsp;<br>— “degenerate music”&nbsp;<br>— opened in Düsseldorf. </p><p>It was a culmination of the Nazis’ repressive cultural policy, which had strictly regulated German art, music, and architecture since 1933 in order to expel a perceived degeneracy</p><p><a href="https://jacobin.com/2024/09/the-lyric-composers-of-the-concentration-camps" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">jacobin.com/2024/09/the-lyric-</span><span class="invisible">composers-of-the-concentration-camps</span></a></p>