‘Germany’s greatest artistic asset, its music, is in danger,’ warned The Spectator in June 1937. Reporting from the leading new-music festival in Darmstadt, the correspondent mentioned only one première of the two dozen on offer: ‘The most important achievement was the scenic cantata Carmina Burana by Carl Orff, a piece that would have been impossible without the influence of the “cultural Bolshevik” Stravinsky.
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