ABSTRACT
In August 1950, a citizen from Berlin wrote to Chancellor Adenauer to ask why German Democratic Republic (GDR) musicians and ensembles were allowed to visit the Federal Republic. He referred to the recent appearance of Franz Konwitschny at the Hamburg State Opera, and above all to the ‘propaganda tours’ of the Dresden Philharmonic. Music was in fact one of the most powerful weapons in a rather under-stocked arsenal, capable of working at several levels. Firstly, by exhibiting high standards of performance, and performing the German classics, the GDR could demonstrate its respect for high culture. An important part of Stakuko’s programme was the engagement of West German musicians to play in the GDR. Rudolf Hartig encouraged this in 1952 and 1953, and the founding of the Ministry for Culture in January 1954 was used to give all forms of ‘all-German work’ new impetus.
