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...Americans love our land as much as Herr Schöttle [TIME, March 20] loves his but we do not have to commit harakiri or rob, degrade and enslave one part of a people in order that the other part may exist...
Perhaps Herr Schöttle will hold contempt for the views of a Jew. However, I always did have respect for Hitler. He rebuilt a desolate nation out of ashes, but he forgot one thing, THE FOUNDATION...
Mozart: Die Zauberflote (Berlin Philharmonic, Sir Thomas Beecham conducting, with Tiana Lemnitz. Erna Berger, Helge Roswaenge, Gerhard Hüsch and other artists; Victor: 2 volumes, 3-7 sides). The 18th-Century Masonic symbolism ol Mozart's great, quaint, rollicking fantasy-opera The Magic Flute is pretty vague to present-day audiences. But the music is some of the most beautiful Mozart wrote. Its first complete recording, less perfectly tooled but more spectacular than the Glyndebourne Don Giovanni (TIME, Oct. 3), is the record of the month...
Most relentless Atonalist was gloomy, bald-headed Arnold Schöberg, who in his time influenced at least half the younger composers of Europe. Other eminent Atonalists, all Schöberg disciples: Anton von Webern, who wrote orchestral pieces like the slight whine of a determined mosquito; the late Alban Berg, who wrote the atrabilious opera Wozzeck; Ernest Krenek, who once relapsed so far into cheerfulness as to write an imitation jazz opera called Johnny Spielt...
Atonality is no longer as fashionable as it was, and even No. 1 Atonalist Schönberg, who is now in Hollywood (but not of it), has begun to put slightly more melodious whistles in his work. Not so, his disciple Krenek. Last spring Composer Krenek, in an article in Musical America, deplored the reaction of his contemporaries, exhorted them to turn back to the stern old days of esthetic revolution, of completely tuneless music...