Product Code Database
Berta Geissmar (14 September 1892 in Mannheim – 3 November 1949 in London) was the secretary and business manager for two prominent orchestral conductors, Wilhelm Furtwängler and Sir Thomas Beecham. From 1922 until 1935, Geissmar worked for the Berlin Philharmonic Orchestra and Furtwängler, including planning and organising foreign tours for the orchestra. Because of her Jewish heritage, she was forced to leave the post and her native Germany in late 1935. Fleeing to London, she gained a similar position with Thomas Beecham and the London Philharmonic Orchestra. She continued in this position until shortly before her death.
Geissmar's autobiography, The Baton and the Jackboot (1944) gives an account of the personalities of these two musicians, and provides a personal insight into the lives and persecution from 1933 of German people who, like her, were Jews or who opposed Nazi ideas.
Berta Geissmar studied Philosophy at Heidelberg University up to Ph.D. level, but her thesis was rejected by Heinrich Rickert, the Dean of Philosophy, for being "too independent". He suggested that she revise it under his supervision, but she chose instead to re-present it at Frankfurt University, where it was accepted.
Berta Geissmar described Furtwängler as a, "genius compounded of intellectual directness and an almost excessive shyness: whose timidity made him efface himself in any gathering, but who had such a great attraction for women that, if they did not fall victim to his musical genius, they were fascinated by his personality."
In 1921, Furtwängler was appointed director of the Staatskapelle Berlin. Berta Geissmar moved to Berlin to be his secretary and to work for the Artists’ League, which acted on an honorary basis for the protection of artists.
At this time, BPO concerts were organised by the agency Wolff and Sachs, who took 75% of the profits. Geissmar persuaded Louise Wolff to cede this monopoly, making a major contribution to the BPO's financial recovery.
Geissmar accompanied Furtwängler on his debut appearances with the New York Philharmonic in 1924. She also continued to plan several tours for the BPO., including Paris. In the winter of 1927 the BPO went to England for the first time, at Geissmar's suggestion. The orchestra subsequently visited every year, with increasing numbers of concerts until the events of the 1930s.
Geissmar was instrumental in Furtwängler's decision not to accept the directorship of the Vienna Opera, in spite of significant pressure for him to do so. She also accompanied him as his secretary to the 1931 Bayreuth Festival.
By 1932, following tours with the orchestra to the Netherlands, Belgium and England, the financial difficulties of the orchestra were almost overcome. The fiftieth anniversary of the orchestra was celebrated in this year.
When in 1934 Furtwängler resigned all his state positions in protest at a ban on the composer Hindemith, all Jews, including Geissmar, were purged from the BPO. Geissmar retained her position as Furtwängler's assistant, but was subsequently forced to leave Berlin, her passport confiscated and forbidden from contacting Furtwängler.
Of Furtwängler's eventual compromise with the Nazis, Geissmar says that it “represented a complete surrender of Furtwängler in the eyes of independent observers”. According to her, he was criticised for this surrender and his reputation never entirely recovered.
Geissmar resolved to get her passport back and find a job abroad. A friend introduced her to Anthony van Hoboken who had created a Photographic Archive of Musical Scores at the Austrian National Library and wished to expand it. He proposed that she visit libraries in the United States to arrange exchanges of material. In December 1935, thanks to a new application containing evidence of the Hoboken offer and an indirect contact with Goering she obtained her passport and left Germany immediately.
In the United States she worked on the library project, but it was delayed while still in the planning stage. Following the Anschluss, the Nazis took control of the Vienna Library and it was cancelled.
Thomas Beecham arrived in New York City to conduct the Philharmonic. Geissmar had known him since 1927 through her work with the BPO—he had also conducted the BPO, and had personally guaranteed one of their English tours after their English agent had become insolvent. He readily invited her to work for him in London during the Covent Garden Spring season.
Geissmar played a key part in organising European contributions to Covent Garden's celebrations of the forthcoming Coronation, working with Beecham, who had artistic control there.
She used her European contacts to plan tours abroad for the LPO, including to Germany in 1936. In concern for her safety, Beecham obtained reassurances from Ribbentrop who claimed that she would be "welcome". The tour was a success under the supervision of her former BPO colleagues.
At the outbreak of war in 1939, Covent Garden closed down. The LPO's financial arrangements collapsed. The musicians therefore reformed it as a co-operative, with a committee and with Geissmar still secretary. They kept going with Sunday concerts at the Queen's Hall and provincial tours.
In April 1940, Beecham left for Australia, where he had prior bookings. In 1941, the Queen's Hall, together with the LPO's instruments, was bombed out. They moved to the Royal Albert Hall and many instruments were offered to replace the lost ones.
Geissmar continued in her post until shortly before her death.
She played a key part in organising European contributions to Covent Garden's celebrations of the coronation of King Edward VIII planned for 12 May 1937. (In the event, Edward VIII abdicated and the same day was used to crown King George VI and Queen Elizabeth). She travelled extensively in Europe using the contacts she had gained for Furtwängler.
She realised that her new job was much easier than her old one. At the Berlin State Opera, decisions were endlessly debated by politicians, committees and artists before she could get on. At Covent Garden, Beecham was in charge. His artistic judgement was generally respected, as was Furtwängler's, but Beecham also had wit, charm, political nous and money. In Germany, where Furtwängler had had to resign because of political interference, Beecham's prestige was respected and the Nazis had no power to direct him. Typically, after some ideas had been considered for the Coronation Season, he said, "You had better go to Paris at once. You will discuss a in general with M. Rouché Director-and then you will proceed to Switzerland and meet Furtwängler. You will ask him to conduct the German season for me next year and I will give you a letter for him". By comparison with Berlin, this was "a pleasure cruise".
She organised the first tour of Germany by Beecham and London Philharmonic Orchestra. She was worried that the Nazis would make difficulties for her if she returned to Germany but Sir Thomas told her not to worry. Ribbentrop assured Beecham that she would be welcome and also that his appointees could organise everything in Germany. Although Geissmar was glad to receive Ribbentrop's assurances she was also angry that the Nazis had tormented her for a whole year but suddenly now that Beecham was her protector she was ‘welcome’. Her inquiries convinced her that Ribbentrop's men lacked the necessary experience so she placed the German work in the hands of the BPO who were delighted by the opportunity. Furtwängler too did everything he could to help.
Geissmar gives a detailed account of the actual tour: how her new position and domicile transformed her status, the formal Germanic ceremonies, the Nazi use of Beecham for Public Relations, the genuinely friendly relations between British and German musicians at a party for both orchestras, the anger in Leipzig at the overnight disappearance of Mendelssohn’s statue from outside the Gewandhaus, the scenic journeys alone with Beecham travelling by car between concerts and Beecham’s detailed knowledge of the places on the way.
Beecham and the LPO performed in Paris to general acclaim. The Coronation produced many fine concerts, operas and parties. Furtwangler conducted two BPO concerts, one with Beethoven's Ninth Symphony, and two performances of the Ring. Toscanini conducted several concerts at the Queen's Hall. Bruno Walter conducted the Vienna Philharmonic. Geissmar visited Bayreuth to get recommendations for Beecham’s 1938 Wagner productions and used her tact to reconcile their opinions with those of Beecham. She visited Mannheim where most Jews of her generation had left. The old and sick remained, but they were to be killed or imprisoned in 1938.
For 1937-8, Beecham decided to cancel all his engagements outside Britain. Herbert Janssen suddenly arrived in London, having been given two hours notice to leave Germany, without any assets. Geissmar invited him to stay with her and Beecham engaged him for a concert.Other sources suggest that he left Germany in 1938 and went straight to Argentina].
Furtwängler and the BPO came for what turned out to be the last time before the War. She was troubled by Furtwängler's apparent toleration of the Nazi Regime and later wrote him a letter expressing her concerns.
Ribbentrop was recalled to Germany to become Foreign Minister and the Nazis took charge of Austria. Great Austrian institutions like the Vienna Philharmonic Orchestra, the Vienna State Opera and the Musikverein were stripped of those whose life's work had been to uphold the excellence of these institutions, to be replaced by . Covent Garden was deluged by letters from top Viennese musicians trying to get work and they did their best. There was a production of Die Zauberflöte. The event of the season was Richard Strauss’s Elektra. Beecham excelled himself. Rose Pauly (as Elektra) declared that she had never sung the opera under such brilliant leadership. The first Czech crisis happened on May 21st. British opinion had changed and Hitler had to back down for the moment. Geissmar paid her last visit to Germany before the War. Her business transactions went well but there were many changes and compromises between art and Nazism and rumours of war. Geissmar had a visit from a pastor, a friend of Martin Niemöller, who had inspired her on 31 Dec 1934 when she was at a low ebb after leaving Furtwängler. He was in England briefly and could have stayed there with his family but was going back to his duty.
She had an unexpected encounter at a dinner party with Ernst Hanfstaengl. Early in the Nazi period Hanfstaengl had been Hitler’s Press chief and music advisor. One day, in the BPO office, she had taken a phoned order from him to cancel the pianist who had been engaged for a concert and replace him with Wilhelm Backhaus. It was said at the time that he was obsessed with her relationship with Furtwängler and had told Hitler that they had had children. Later he had had to flee Germany and was now living in England. He shook hands with pretended warmth but she got very angry because he was a principal cause of her troubles. Their hostess had to put them together in another room.
In September the Russian Ballet came and the LPO played for them. Beecham was in the country, not needed. Many people were coming from Austria and Czechoslovakia. Hitler threatened Beneš with war and everyone was very worried. As a "German" she worried that she would again be an outcast. Others worried about husbands and friends being called up. Kind friends at Covent Garden found reasons to visit and encourage her in her lonely office. The crisis approached – then on September 30 the Munich Agreement was signed.
Beecham returned in October and a short season of opera began, as though nothing had happened. Concerts and recitals began. Many people visited from Europe. Strengthened by their bloodless victory, the Nazis confiscated the passports of “non-Aryans”. Emigration passports would however be made available. The programmes for the 1938–9 Queen's Hall season were chosen. Beecham and the LPO made records which were very good. Beecham prepared a Sibelius Festival. He was so focussed on this that his normal courtesy deserted him. Sibelius was not well enough to attend but his daughter attended all the performances.
In January the customer visit by Furtwängler and the BPO was cancelled as a result of Kristallnacht the previous November. Geissmar's mother, though over seventy, decided that she must leave Germany but the formalities took nine months and she had to leave almost all her property behind.
Geissmar spent Christmas in Paris. She met Janssen. He had prospered in London and Paris. In the summer he was to go to Covent Garden, then Buenos Aires, then the Metropolitan Opera, New York.
Despite the looming clouds of war Beecham was determined to give his usual International Season. He had just arranged a visit of the German Opera from Prague when Hitler moved into there. The visit was cancelled. The President of France made a State visit and a gala was held in Covent Garden. Pablo Casals gave a concert in the Royal Albert Hall in aid of Spanish child victims of the war there. Ironically it was on the very day that the Republic surrendered (March 28). The International Season took place, with some compromises owing to the situation.
Geissmar took a short break in Paris, which was anti-German. She saw an excellent production of Berlioz’s huge opera Les Troyens. Beecham was hoping to put it on in London in 1940. Of course that didn't happen. Beecham agreed a visit to Australia. A visit to the US and Canada by the LPO was planned.
At the outbreak of war, Geissmar was in Dorset. Beecham asked her to return to London. She obtained Police permission, as a citizen of an enemy nation, to do so. Covent Garden ceased operations. She moved the office contents mostly to Boosey & Hawkes with a few things at her home. The LPO's calendar was mostly cancelled and its company suspended. To keep it going the musicians appointed a committee to run it as a cooperative. They gave concerts in the provinces and also in the Queen's Hall, conducted by Beecham.
Like many, Geissmar was deeply worried about the future but in particular, with talk about internment of German residents, whether she would be rejected by the British, as she had been by the Nazis. However her friends at the LPO reassured her and in the event few German women were interned.
The LPO reached a financial crisis but a few big donations, a national appeal and agreement by the musicians to switch to ad hoc pay got them started. Then Jack Hylton took them around Britain to give promenade concerts.
The Proms continued as usual with Henry Wood conducting the London Symphony Orchestra at the Queen's Hall. Often an air raid started during the concert but people still stayed even though could mean staying all night until the All Clear. Food and drink were arranged and impromptu entertainment. The season was stopped prematurely on September 7 because of the raids.
Geissmar moved her mother from Red Lion Square to safer accommodation in Hampstead while she herself spent the night in public shelters until the time came to meet Beecham in the US, which would be soon. On September 24 the top of her house was bombed out. Her friends at the LPO were very supportive and she felt bonded to them as never before. Beecham sent a cable – he was extending his time in Australia and she should stay in England. So she joined her mother in Hampstead. There were raids even there – her few remaining possessions got a soaking and another house in the road was destroyed. Beecham's two sons, Adrian and Thomas, invited her from time-to-time to one or other of their country homes for respite.
In November the blitz died down. The LPO Sunday concerts were resumed. Concerts were organised in the National Gallery by Myra Hess. The LPO expanded its touring. Richard Tauber, now a British citizen, offered the LPO a concert, for their benefit, with him conducting and singing. Despite initial concerns, it went well . Tauber took them on provincial tours.
The concerts, including Proms, were moved to the Royal Albert Hall. The BBC broadcast an appeal for instruments and they were deluged with offers. An emergency staff of helpers was recruited to deal with letters and phone calls.
Geissmar's house was hit for the third time in the May 10 raid. This time her furniture, now in the basement, was destroyed. The same night, Boosey and Hawkes’ premises were damaged for the second time. Luckily Beecham's precious library survived and was retrieved from the ruins.
Geissmar's obituary in the Times is confusing at this point. The staff reporter says that she retired in 1944 but Thomas Russell, who was a member of the LPO committee says that she devoted the last ten years of her life to the orchestra until her final illness.
|
|
