Un-settling Scores: A Review of Michael H. Kater's Composers of the Nazi Era: Eight Portraits
After Different Drummers (1992) and The Twisted Muse (1997), MichaelH. Kater has presented Composers of the Nazi Era: Eight Portraits, as“the last in a trilogy on the interrelationship between sociopoliticalforces on the one side, and music and musicians in the Third Reich,on the other” (264). The author is Distinguished Research Professorof History at the Canadian Centre for German and European Studies(York University). The author of the present review, a musicologist,must express his gratitude to Professor Kater for helping tomake it professionally unacceptable to restrict oneself anymore to“the music itself” when considering certain composers active in Germanyof the 1930s. By the same token, Kater’s reticence about “themusic itself” (which presumably springs from humility) will leavemany a musicologist itching to adduce (if not consult) the scores toconfirm or to contest Kater’s points, for Kater is writing about lives,not works, unless the works have impinged on biographical issues.