Musicologists have recently begun to study a crucial component in the reconstruction of European cultural life after World War II—the remigration of displaced musicians, either in person or (adopting Marita Krauss's notion of "remigrating ideas") in the form of their music. Because composers are most significantly present in the aural materiality of their music, and because Arnold Schoenberg's name was synonymous with modernism and its persecution across Europe, his symbolic postwar reappearance via performances of his music was a powerful and problematic form of remigration.

The case of Schoenberg's A Survivor from Warsaw and the former Nazi music critic Hans Schnoor serves as a representative example. Schnoor derided Schoenberg and Survivor in a newspaper column in 1956 using the rhetoric of National Socialist journalism as part of his campaign against federal funding of musical modernism via radio and festivals. When radio journalist Fred Prieberg took him to task for this on the air, Schnoor sued for defamation. A series of lawsuits ensued in which issues of denazification and the occupying Allied forces put a distinctly West German spin on the universal postwar European themes of anti-Semitism, the Holocaust, remigration, and modernism.

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