Why Did Hitler Admire Wagner Despite Considering Atonal Modernist Music 'Degenerate'?

Many discussions of early 20th-century classical music often frame Richard Wagner's work as a stepping stone to atonal modernist music, particularly inspired by his notorious successor, Arnold Schoenberg. Yet, a closer look at history reveals a more nuanced situation. If Hitler found Wagner's music to be exceptionally grand and Wagner's operas to be the embodiment of an ideal Germanic homeland, the reasons behind Hitler's admiration may not be as aligned with the musical progression as we traditionally think.

The Misconception: Wagner's Innate Opposition to Tonal Traditions

It is often said that Wagner pioneered modernist art by challenging tonal traditions, but this conflates a few important points. Wagner wrote music because he felt an inner compulsion to do so, rather than setting out to topple tonal structures. Many of his contemporaries also expanded the boundaries of tonal music, and some of these so-called traditions were relatively recent—older than 200 years for a few.

The so-called "Tristan chord," often heralded as a monumental shift in music, should be viewed as a rich but not singular development. While indeed interesting, it was not the first or only instance of expanding tonal boundaries. Composers like Mozart, Beethoven, and even lesser-known contemporaries like Schumann also pushed the limits within tonal frameworks.

Hitler and Wagner: A Complicated Relationship

Hitler's fondness for Wagner was not merely about the music itself. Wagner’s operas often retold mythological tales of a mythical Germany, embedding cultural stereotypes that were appealing to Nazi ideology: strong men and women, sturdy land, and a unified German identity. The mythological nature of these works helped cement Hitler's vision of a homogeneous and powerful Germany.

Hitler also used Wagner's appeal as a testament to German cultural superiority. However, it's worth noting that Wagner's music, while beautiful, wasn't just ceremonial. Its effect on Hitler and the Nazi regime may have been more about the visibility and resonance of the music rather than its intricate musical innovations.

The Real Challenge: Arnold Schoenberg and Atonality

Arnold Schoenberg stands as a more significant figure in advancing non-tonal or atonal music. His development of twelve-tone technique was a genuine departure from the tonal system. However, Schoenberg was Jewish, and his identifying qualities made him far more vulnerable to Nazi persecution. In contrast, Wagner was dead, making his political affiliation irrelevant, and thus easier to co-opt for propaganda ends.

Hitler and his allies may not have fully understood Wagner's music, but they certainly utilized its grandeur and mystique for their propagandistic purposes. The Nazi regime's embrace of Wagner was partly strategic, aligning art with an ideology that promoted unity and national pride.

Fascism and Artistic Expression

Fascist regimes, including Nazi Germany, often viewed unfettered artistic expression as a threat. Fascism aims to control the narrative, undermining independent thought and individuality. Wagner's work, rich with abstract and philosophical ideas, could inspire dissent and critical thinking, which was precisely what fascist regimes sought to suppress.

Wagner's operas are more than just music; they are vehicles for exploring complex themes. His persistent use of leitmotifs (melodic themes associated with specific characters or ideas) and his grand scale can inspire listeners to think deeply about their own beliefs and cultural identity. This aspect of Wagner's work is what makes the historical tension between Hitler's admiration and his government's opposition to atonal music even more fascinating.

In conclusion, Hitler's fondness for Wagner was more about cultural symbolism and national propaganda than a musical philosophical convergence. While Wagner's music was a cherished symbol for the Third Reich, his Nazis were wary of the broader artistic implications of atonal music, which served as a window to critical thinking and independent expression.