I, ultimately, lost interest in this book, even though it was very well done and an incredibly valuable work, too, in my opinion. However, for whatever reason, I was unable to generate and sustain a long term interest in this book and did not complete it.

Music of Exile is an extraordinary book, a thoroughly researched compilation of Jewish composers and musicians from before the Second World War, during the War, and after it. Michael Hass skillfully introduces us to those musicians who might have been geniuses of composition and never lived to explore and develop their talent but were instead murdered by the Nazis in various camps. Others, who managed somehow to stay in their own or adjacent countries may or may not have been limited by the strictures of their homes or places to which they relocated. Hass' research and careful writing tells of lesser known places some of the musicians eventually moved, including Japan, China, and other Asian countries.

The wonder of this book is that it comprehensively covers every musician from these eras and while including the famous composers and soloists many of us are familiar with, he introduces all the others who were part of this frightening and disturbing time. Hass also examines the lives of many musicians who transplanted themselves at great personal cost and those who were restricted or even silenced by totalitarian governments.

While examining the lives of all these musicians, Hass also examines the music itself and the influences of various composers, most notably, Schoenberg. Hass talks more than once about music assigned only to the desk drawer, and the speculation of what might have been looms large in this book. On the other hand, it examines how some notably successful and popular music only evolved because of the location of the composer, whether he or she really wanted to be in that particular place.

Thanks to the publisher and Net Galley for the opportunity to read this impressive and reflective book. It's impossible to imagine a more comprehensive, exhaustively researched, and powerful book on this topic.

Author Michael Haas has provided what will surely become the seminal work on composers who were forced into exile because of the Hitler regime. This deeply researched tome highlights many lesser known composers from Germany, Austria, and Czechoslovakia who made important contributions both pre- and post-exile. Haas provides much nuance in assessing the composers' multifaceted identities which brought about their exile. He fairly assesses those who were forced into challenging professional decisions in light of the Nazi Reich. This excellent book provides much insight into the work and influence of these composers.

For many Jewish composers, the rise of Nazism in Germany and Austria resulted in a stark choice: stay and submit to an unknown future in an increasingly hostile environment, or leave for foreign lands, cut off from one’s cultural heritage.In the early days of Nazism, when the choice was still not an obvious one, it was far from an easy decision. Once the Nazis had passed laws ‘cleansing’ Germany’s cultural life of Jews,composers were forced for financial reasons, irrespective of their feelings of foreboding, to consider exile: they could not join the newly-created Reich Music Chamber,and while the rules in the first few years of Hitler’s regime were not rigorously enforced, royalties from compositions soon dried up.Many composers left for the United States–there to find employment in universities, on Broadway, and in Hollywood–while others (such as Egon Wellesz and Berthold Goldschmidt) headed for Britain.Some of the most prominent Jewish composers of the early 20th century were thus forced into a tremendous upheaval that had a lasting effect on their music.Other composers, such as Ernst Krenek and Paul Hindemith,were driven from Europe for reasons other than their racial identity.Inner emigration is a concept of an individual or social group who feels a sense of alienation from their country, its government,and its culture.This can be due to the inner emigrants' dissent from a radical political or cultural change,or due to their belief in an ideology that they see as more important than loyalty to their nation or country.It also refers to Germans who agreed with the writers of Anti-Nazi Exilliteratur from the German diaspora, but who chose to continue living in Nazi Germany while outwardly appearing to conform.While composers suffered from varying degrees of homesickness, through being uprooted from their former lives, and forced to abandon friends and family,they were in some senses the fortunate ones,while many felt that their exile disturbed their careers to such an extent that they never recovered their reputation.Jüdische Kulturband was a cultural federation of German Jews established in 1933, who hired people fired from German institutions.

I found it hard to finish the book because I got five percent in and I was lost in the introduction but I see this book being recommended to academics studying the subject of composers during this time period. I did enjoy the cover and concept and that is what drew me in. This became a DNF for me but I only sat down for thirty minutes. I do appreciate the time and effort.

An eye opening and deeply researched account of art that persevered when it would be silenced. A really gripping and readable work of non-fiction with stories and details wonderfully excavated.

I want to thank Yale University Press, author Michael Haas and NetGallery for the opportunity to read this nonfiction ebook.
Michael Haas has continued his incredible scholarly research about the composers who fled Hitler's Germany and included new information regarding those who remained. While the author's "FORBIDDEN MUSIC" presented the political background and horrid banning of art, in all of its forms, that the Nazis deemed 'degenerate,' 'Jewish,' 'destructively modern," and without regard for Germanic ideals "The Music of Exile" is, in large part, an anthology of composers in the conquered nations, how they emigrated, where they emigrated to and how and if they were able to succeed in their new lands. One is struck immediately by how incredibly healthy the new music scene was in Germany prior to the Hitler insanity. More than any other nation Germany's forums for new music were wonderfully supported and quite diverse. Composers and musicians found employment in the large number of conservatories, orchestras, opera companies, cabarets, film production, etc. Jewish composers and performers found themselves in horrible situations whether the Nazis branded them "full Jewish," "half-Jewish," or "quarter Jewish." But, Haas' scholarly research is so fabulously deep and complete the reader learns about even the "non-Jewish" musicians who never supported Hitler or the nightmare-society he ruled. Some joined 'the party' onlyto gain the right to be employed. Others absolutely refused and found themselves without work. Some composers drastically altered their technique and style to comply with the "new musical ideals." A large portion of the book is truly an anthology of the individual composers who emigrated to America, England and nations as distant as Iceland. Those of us who have followed this vast subject know of the most famous composers: Korngold, Waxman, Toch, Hindemith, Weill, Schoenberg, Krenek, etc. but Haas follows scores upon scores of composers who, while well known and successful in Germany, too often found it difficult or impossible to deal with musical tastes, commercialism and limited opportunities for any number of reasons. While the book is a monument to scholarly research it may prove to be "overload" for some readers. The amount and degree of information is simply astounding. This is a book that belongs in every college, university and conservatory library. I salute the author for this important treasure

a really solid essay! it reminded me of the novel the flight portfolio & the tv adaptation transatlantic at times, which was super nice. i’d recommend this one for those into ww2-related stuff and/or music history!