In this episode I’m joined by historian Alexandra Birch to talk about the role of music and sound in Nazi Germany and the Holocaust. We discuss her recent book Hitler’s Twilight of the God’s: Music and the Orchestration of War and Genocide in Europe, how music and sound contributed to genocide and Nazi identity formation, how the Nazis used music to embed their mythology and ideology into everyday people’s lives, the types of music and composers that the Nazi command structure favored or regulated, the psychology of genocide from the victim and perpetrator perspective and how music may have figured into that, some misconceptions and common misunderstandings about music during the Holocaust, the soundscape of horror inside a concentration camp, some of Alexandra’s thoughts on holocaust denialism and the role of museums in preserving history, and much more. 

Dr. Alexandra Birch is a professional violinist and historian who works comparatively on the Nazi Holocaust and Soviet mass atrocity, including the Gulag through the lens of music and sound. She holds a PhD in History from the University of California Santa Barbara, and a BM, MM, and DMA from Arizona State University in violin performance. Previously, she was a fellow at the US Holocaust Memorial Museum, the Wilson Center, and the Vienna Wiesenthal Institute, where she released CDs of recovered music and finished her first book Hitler’s Twilight of the Gods: Music and the Orchestration of War and Genocide in Europe. Her current project “Sonic Shatterzones, The Intertwined Spaces, Sound and Music of Nazi and Soviet Atrocity,” investigates eight case studies of the Holocaust in the USSR and Gulag, including indigenous interactions with Solovki, new recordings of Weinberg’s compositions from his time in Tashkent, sound recordings of the Gulag in Kazakhstan and of Auschwitz-Birkenau, and post-Soviet world premiere compositions, creating a humanizing look at incomprehensible violence.

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