Friedlander 66).
The strength and character of the great German composers set the standards for the music that Hitler deemed acceptable. In Hitler's mind the only worthy musician was one of pure German descent. Hitler considered Wagner, Beethoven, and Bruckner the epitome of what a good German musician should be. The composers were recognized not only for their musicianship, but also for their loyalty to the Fatherland. Hitler exaggerated the importance of the musicians' German heritage in order to succeed in using music in his propaganda schemes.
Hitler blamed the Jews for the economic crisis and for degrading the contemporary arts movement. The Jews posed a threat to the purity of Germany, even though they had assimilated into German society and considered themselves just as much Germans as they did Jews. Many Jews had very little sense of religious or cultural identity, so they were stunned by Hitler's accusations (Fulbrook 197). Art in Germany was not simply an ornamental luxury, but it had both symbolic and instructional functions; it was an indispensable way of communicating as a nation (Burns 32). The Jews had always considered themselves an integral part of the process and were unprepared for the attack on their artistic endeavors.
Hitler's plan to gain control of all musical activities in Germany began after he gained power in 1933. Richard Strauss, a prominent musician in Germany, became the leader of the Reich Music Office. He dismissed all Jewish professional musicians from their posts, and he banned the performance of works by Jewish composers. Hundreds of talented composers and musicians had their work deliberately suppressed, and their careers ended simply because of their Jewish heritage. Otto Klemperer, prominent conductor, was fired because "the Jew does not understand Wagner's music-(Goldsmith 41). He left Germany and went to Switzerland. Another important conductor, Bruno Walter, left for Vienna after being told that the patrons of the orchestra did not want a Jew in charge.