The rise of the Nazis in 1930s Germany meant the fall of a world of music. Behind Adolf Hitler, the Nazis suppressed a generation of composers — most Jewish, some simply anti-Fascist — and the works they had produced over many years.

A world of music, between Mahler and Schoenberg, was blacked out, and its creators lost to the gas chamber or exile.

Now, James Conlon, music director at the Los Angeles Opera, is bringing that music back for American audiences.

This hour, On Point: reclaiming a lost world, with the LA Opera’s James Conlon.

Erwin Schulhoff’s Symphony No. 2, “Allegro Ma Non Troppo”

Alexander Zemlinsky’s “Die Seejungfrau” (The Mermaid), “Sehr gedehnt, mit schmertzvollem Ausdruck”

Alexander Zemlinsky’s “Eine Florentinische Tragodie” (A Florentine Tragedy), Opera opening: Feurig sturmend

Viktor Ullmann’s Symphony No. 2, Third Movement

Alexander Zemlinsky’s “Der Zwerg” (The Dwarf), “Warum den flieht mein Freund?”

Franz Schreker’s Romantic Suite, Andante

Erwin Schulhoff’s Symphony No. 5, Allegro Con Brio

Karl Amadeus Hartmann’s Concerto Funebre, First Movement

Walter Braunfels’ Die Vogel (The Birds), Act I Prelude

Alexander Zemlinsky’s Chorwerke (Choral Works), “Horch! Vom Hugel, welch ein wieder Klang”

Guest:

James Conlon, Conductor and Music Director of the Los Angeles Opera.

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Tags: arts, Music, opera